STREET OF DEATH
On the outskirts of the city, right by the water, lies an arterial road that leads to Beirut’s international airport. Most of the houses standing there are illegal constructions, quickly erected for a life alongside the road. A kaleidoscope of stories take place on this highway. Thoughts on the death of friends, and not so good friends. Rituals of masculinity and fights for power that have stood the test of time, pink wedding dresses, illegitimate children. Stories merge to become a new life.
The narrator revisits the site of his youth – a lawless slum suburb next to Beirut’s international airport, where vendettas and raucous street weddings punctuate daily life. A treacherous stretch of highway, coined “Street of Death” after the many young lives lost performing motorcycle stunts, separates the area from the dazzling Mediterranean sea. The film draws a raw and intimate portrait of a neighborhood through the stories of five inhabitants, weaving the past and present, and inviting a re-examination of our relationship to the turmoil of adolescence: Do we ever really leave that very first place of precarious living and inflated dreams, or does its resonance ever truly