Latency in Lebanon, or bringing things (back) to life: A Perfect Day (Joana Hadjithomas and Khalil Joreige, 2005)

Many Lebanese films and documentaries of the last few decades have focused on the hidden legacies of the civil war (1975–1991) that remain unprocessed in public, and often private, life. Unsurprisingly, these works have often been discussed by critics through the lens of traumatic cultural memory. In the first part of this article I argue that this model is productive yet insufficient. I suggest, instead, a methodological approach which acknowledges the intersections between trauma and other processes underpinning everyday life in the city. In the second part of the article I apply this approach to the film A Perfect Day (Hadjithomas and Joreige, 2005). Using the directors’ own concept of latency, I analyse the affective modes of touch, breath and the hidden life of objects to show how the performative existential drama that unfolds in the film opens out onto processes that go beyond the haunting legacies of violence from the civil war and includes a vision of singularity and infinite possibility that relates back to the birth of cinema itself.