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              <p>In light of her entire career as an artist and filmmaker, I wish to return to the methodology adopted by Jocelyne Saab in the conception of this work, which magnifies the present of the history of the films she shot by crystallising them in symbolic images, and which brings to life stories that she was never able to tell, by revealing series of photographs and fragments of unfinished projects. I want to show that her choice of the still image poses a challenge to the viewer who sees her films as archives or heritage: because they were taken from the original films at the end of the artist's life, the images in Zones de guerre must be said to date from 2018. It is this dialogue between the past and a present without tomorrow established by Jocelyne Saab that I wish to discuss in her personal relationship to the history of Arab countries.</p>
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