
By Richard Brody —Netflix is a cinematic rummage sale: some authentic treasures gleam enticingly atop a pile of junk, within which even rarer gems lurk—but it requires some digging. Reader, I dug—and found that Netflix is offering a batch of several dozen Lebanese films from the past fifty years, at least two of which are extraordinary fusions of imagination and observation. Both of those films, “Whispers,” from 1980, and “The Little Wars,” from 1982, are by the same director, Maroun Bagdadi; the first is a documentary and the other is a work of fiction, but both, remarkably, prominently feature the same person—the photojournalist Nabil Ismaïl, who is a subject in “Whispers” and an actor in “The Little Wars”—in an overlap that exemplifies Bagdadi’s original approach to both forms.
“Whispers”
The documentary follows the poet Nadia Tueni as she travels through Lebanon, which at the time was physically and emotionally devastated after five years of civil war. The format is something like a virtual, fictional road movie, albeit one in which the drama lies not in a specific narrative but in the question of Lebanon’s immediate future. From the start, there’s death in the air—at a gathering of young people, a man sings a melancholy ballad of a mother’s grief for a son killed in war, and the song continues on the soundtrack as Bagdadi shows images of a city’s bombed-out buildings and rubble-strewn streets. Tueni and Ismaïl wander through the desolate cityscape, the labyrinth of Beirut’s ruins, as Ismaïl takes photographs. Then, on his own, Ismaïl plunges into the busy heart of a market street, in an extended and exciting handheld shot that’s accompanied by his voice-over, which—like the voice-overs in Claude Lanzmann’s “Shoah”—creates a virtual image of the past, which, fused with present-tense observations, renders the past seemingly more present than what’s seen on the screen.











