Ghassan Salhab was born in Dakar, Senegal. In addition to making his own films, he collaborates on various scenarios and teaches film in Lebanon. He has directed eight full-length films: Beyrouth Fantôme (1998), Terra Incognita (2002), The Last Man (2006), 1958 (2009), The Mountain (2010), The Valley (2014), An open Rose/Warda (2019) and The river (2021), in addition to numerous essays, and different video works, including Nobody’s Rose (2000), My dead body, my living body (2003), Lost Narcissus (2003), (Posthumous) (2007), Le massacre des innocents (triptych-video, 2010), Everybody know this is nowhere (diptych-video, 2012), Chinese ink (2016), Son Image (diptych-video, 2016), Le voyage immobile (2018), with Mohamed Soueid, Le jour est la nuit (2020), Maintenant (2021). They were all selected in different international
festivals or exhibitions. In 2016, he was a guest in residence at the DAAD, Berlin. La Rochelle International Film Festival, JC Carthage and La Cinémathèque du Québec made a tribute to his work. He has published different texts and articles in various magazines, and two books: Fragments du Livre du naufrage (2012, Amers Editions) and A contre-jour (depuis Beyrouth) (2021, de l’incidence éditeur).
In the summer of 1936, for no longer than two months, the philosopher and militant Simone Weill joined the Republican camp during the Spanish Civil War. It was fundamental for her to put her revolutionary ideals to the test of the real. From this hard and violent experience, this film-essay will try to follow the singular path of this woman who went all the way in her quest for truth, among the most deprived, a quest that led her to a certain death. The wait (L'attente) continues a reflection begun with two previous films, on the quest as well as the loss, both personal and collective, of the insurrectionary path, thought, and action.