Valley Of Exile

Dealing with the ramifications of war is a daunting endeavour for a filmmaker. There are no shortcuts to how the camera should portray displacement and tragedy. This much is clear in Anna Fahr's first feature-length narrative project, which follows two sisters seeking refuge from the Syrian war in Lebanon's Beqaa Valley. Far from the conflict zone, the cinematic eye focuses on their struggles with an unwanted new life. Their contrasting hopes for the future paint an emotional picture of resilience and tell a necessary story about the heartbreak of war.

Arriving in Lebanon at the onset of the Syrian war, Rima (Maria Hassan) and Nour (Hala Hosni) quickly discover their deal for decent accommodation has fallen through. Arriving in a makeshift refugee camp, they set out to arrange for the arrival of Firas (Moe Lattouf), Rima's husband, who stayed behind to collect his last paychecks. Forced by her pregnancy to prioritise the future, Rima is determined to bury the scars of her war-torn country and build a new life once her spouse arrives. More attached to their past and burdened with uncertainty, Nour finds it hard to share her sister's drive.

Aching to reclaim pieces of her former life, she disregards the precarious comfort of the camp and starts looking into the whereabouts of Amin (Sajed Amer) their insurgent brother. The valley's blue hue reflects her feelings, creating a space where the melancholy for her lost home becomes tangible. As she delves deeper into Amin's whereabouts, she endangers herself and Rima, who vows to protect her younger sister. The measured camera work focuses on their complex emotions, establishing a claustrophobic atmosphere that carries the weight of the war from across the border.

The two women are taken in by Haifa (Najwa Kandakji) and her niece Shirin (Joy Hallak), two Palestinians who share a similar story of war and displacement. Rima is especially fond of Haifa, who finds the strength to offer her warmth and support, even in the roughest of conditions. The camera slowly reveals their surroundings, creating a stark image of trauma and haunting doubt. Understanding the camp is just a temporary solution, Rima attempts to find work until her husband’s delayed arrival.

She meets Khaled (Michel Hourani), a Lebanese engineer who assists with maintaining the camp. Convinced by Haifa's altruism to help the Syrian woman, he invites her to assist with tasks around his home. The emptiness of his house resonates with Rima's pain. It carries the same grief she bears for her parents and acts as a reminder of her difficult journey to start a family as a refugee. She connects with Khaled after discovering his tragic past and they comfort each other. Their shared sorrow is truly emotional, offering them enough respite to keep going in an utterly confusing environment.

Rima and Nour's story challenges the viewer to contemplate the consequences of war. Its evocative image involves delicate friendship, inner strength and even love. But, behind this timely exploration of admirable resilience, questions are raised about unjust conflict, difficult living conditions and the ultimately limited fortitude of those ensnared in the throes of war.