Hundred Faces for a Single Day 1972
Christian Ghazi's *Hundred Faces for a Single Day* (1972) shatters conventional documentary storytelling, weaving abstract visuals and disjointed narratives into a bold critique of Beirut's political elite.
Director: Christian Ghazi
Cast
Frequently Asked Questions
What is *Hundred Faces for a Single Day* (1972) about?
*Hundred Faces for a Single Day* peels back the layers of Beirut's political elite, exposing their hypocrisy through a collage of documentary footage and abstract storytelling. Director Christian Ghazi rejects conventional narratives, instead crafting a biting critique of societal decadence and power structures.
Who directed *Hundred Faces for a Single Day*?
Christian Ghazi directed *Hundred Faces for a Single Day* (1972), delivering a bold, experimental piece that challenges traditional documentary conventions.
Who stars in *Hundred Faces for a Single Day*?
The film stars Micheline Daou, Madonna Ghazi, Salah Moukhallati, and Mona Wassef, with Ghazi weaving their performances into a provocative tapestry of social commentary.
Is *Hundred Faces for a Single Day* (1972) worth watching?
As an unrated documentary, *Hundred Faces for a Single Day* offers a rare glimpse into Lebanese avant-garde cinema, though its abstract style may not appeal to all. For fans of experimental films or political critiques, it's a compelling watch—just don't expect a conventional narrative.
How long is *Hundred Faces for a Single Day*?
The film runs for 70 minutes.
About Hundred Faces for a Single Day (1972) — A radical documentary dissecting Beirut's bourgeois elite
Christian Ghazi's *Hundred Faces for a Single Day* (1972) shatters conventional documentary storytelling, weaving abstract visuals and disjointed narratives into a bold critique of Beirut's political elite. Filmed in a raw, unfiltered style, the movie immerses audiences in the decadence of a city's ruling class, exposing the contradictions beneath its polished facade. With Micheline Daou, Madonna Ghazi, and Salah Moukhallati at the forefront, Ghazi crafts a provocative mosaic that feels as urgent today as it must have in 1972, blending social commentary with avant-garde experimentation. The film's restless energy and refusal to adhere to traditional storytelling make it a fascinating artifact of Lebanese cinema.
At a lean 70 minutes, *Hundred Faces for a Single Day* packs a punch, stripping away propaganda to reveal the hollow rituals of power. Ghazi's vision is both a mirror and a challenge, inviting viewers to confront the decay lurking behind the glitter of Beirut's golden era. A cult gem for fans of experimental documentary, this work stands as a testament to cinema's power to provoke and unsettle.