Before They Arrive

Short Synopsis
The absurdity of normalizing the political, social, and economical catastrophes that have been governing the Lebanese daily life, comes to a boil when Samer and Rana try to get comfortable in preparation for some romance. All their advances are abruptly halted with all that is happening out of their control.

Long Synopsis
A young man sleeps half naked, wearing his shoes and jeans, in a chaotic room, its walls covered with banners and photos of political idols. His forehead clearly stitched and bandaged. This is Samer, an early 20s young man. He wakes up to the news of the death of a relative in his far away village. His parents decide to leave for the funeral and he stays home alone.
Since it’s an empty house for a full day, what’s better than spending it with his girlfriend Rana?
Soon, Rana – a mid-20s young woman – rushes in to avoid being seen by any neighbours. Samer is also worried about that, but comforts her as soon as she steps inside.
The day starts playful and funny, two lovers slowly setting up for a romantic date. Dancing, joking, teasing, smoking hash, and consuming drugs are some of what they usually do on such days. Today is exactly that, except for some minor –or not really- interruptions from the neighbours, surroundings, TV and weird hallucinations. Every time Samer approaches Rana, something comes in to kill the moment. It happens repetitively until it becomes surrealistic, it seems like all energies are lined up to break the meeting of this couple. At a time, Samer’s neighbour knocks the door asking to borrow milk powder for the pasta she is preparing, at another time, tap water has ran out and Samer has to refill the tank on the roof, and at yet another time, a politician is delivering a speech on TV and his fans are shooting their rifles and guns to celebrate his appearance.
With the succession of these incidents, tension builds up between Samer and Rana. Hallucinations overlap with reality. With time, she is more worried of being seen at Samer’s place, and gradually she gets more obsessed with the idea. It seems this is not normal fear; it hides something deeper in Rana’s psyche. The surrounding circumstances don’t help much, gunfire noise and proximity pushes Rana to the edge, and with her the relationship with Samer.
The hysteria reaches its peak when a passing fish seller, is killed by a stray bullet. Rana shows empathy to the man first, but soon obsesses over the incident and gets frightened of having a similar fate if she goes out or even approaches a window.
As the tension rises, we dive deeper into Samer and Rana’s hidden personalities. We witness a competition over power in the simplest of details; when Samer asks Rana to change her phone screen photo because he finds it erotic, or when Rana says he doesn’t have to answer his phone every time his mother calls. These power dynamics show repetitively over the couple’s day, pulling them into a loop of more tension and stress, where they both reach a boiling point and their previous experiences are revealed, explaining their behaviours and attitudes.
Samer’s frustration is multi-layered, part objective and part subjective. He is politically active, and is always hoping that a radical change would happen in Lebanon. The stitches in his head are what he got from the last demonstration he went to, when a group surrounded and attacked him. In the morning, he received a video of the incident someone had secretly recorded. The heavy video keeps its effect on Samer for the whole day. On another hand, he is at a crossroad in his personal life, he had graduated from university and is searching for a job. The only opportunity he finds, is to apply for a chief position in the military; A path that opposes all his beliefs and practices, but looks like the only one available.
Rana had passed through a traumatic experience in the last few years. She looks at her relationship with Samer as a way to overcome what she had faced and regain her previous life and personality. A few years ago, she had to abandon all her active and engaged life, for a quick marriage from a relationship that proved to be immature. In her marriage, she had a baby girl. Now, Rana is in a divorce lawsuit, and is struggling to gain custody of her child. And as the law goes in Lebanon, she is threatened of losing custody if she is in a relationship with another man, even after her divorce.
Confronted with the risk of being caught at Samer’s apartment when his parents come back, and the risk of facing a similar fate to that of the fish seller if she walks out, Rana gets trapped in a situation she cannot handle. But at the same time, she can clearly see the hopelessness of this relationship. So many clues had appeared during the last few hours for her to make a decision. She knows she has to leave despite the risk.

Writer, Editor & Director: Ashraf Mtaweh
Co-Producers: Mahmoud Korek, Jamal Awar & Ashraf Mtaweh
Cast Nassim Banna, Tamara Hawi, Hiyam Saeed, Salam Al Awar, Hamza Naddar, George Kehdy, Dani Chalfoun, Layla Bou Habib, Tarek Bashasha, Omar Al Awar & Aiden Mtaweh
DOP: Dany Chedid
Sound Recordist: Bachir Tannous
Art Director: Aiman Iskandarani
Production Manager: Jamal Awar
Assistant Director: Yara Hamze
Music: El Rass
Camera Assistant: Ralph Esso
Sound Assistant: Joe Nasr
Production Assistant: Kawthar Sutumiah
Sound Designer: Jack Akiki
Sound Mixer: Raed Younan
Sound Design Assistant: Alain Daher
Colorist: Elige Nehme
VFX: Mahmoud Korek
Poster Design: Karma Tohme
Subtitling: Sasseen Kawzaly
Video & Photo Documentation: Monah Ashkar
Production Company Cooperative of Cinema Professions – Lebanon

The Cooperative of Cinema Professions – Lebanon was established in 2023 by 7 workers in cinema and has grown its membership to 12, coming from different professions, including directors, cinematographers, editors, animators, a producer, a production designer, a sound designer, and a colourist.
It is one of very few cinema cooperatives in the Arab world working in all phases of production. Being a cooperative means adopting an economic module that prioritizes collaboration over competition, equal distribution over profit accumulation, and social engagement over market oriented practices.
The cooperative was founded in response to the different catastrophes that Lebanon and the region have faced during the last few years, and their implication on the lives of cinema workers in Lebanon. It is a space to search for alternative methods of production, using our limited resources and building on our collective experiences, and alternative economic and social modules where we can exist, interact, evolve and produce equally.

Producers’ Bios
Mahmoud Korek founded the Postoffice, a postproduction, grading and VFX house based in Beirut, in 1998. In 2021, the Postoffice started a restoration department. Korek was involved in the production of many Lebanese, Syrian and Palestinian features, documentaries, shorts and animation films as Co-producer, postproduction producer or VFX supervisor working with acclaimed Lebanese Filmmakers such as Mohamad Soueid, Ghassan Salhab, Jocelyne Saab, Burhan Alawiye, Michel Kammoun, Elie Khalife.

Jamal Awar is a London-based Lebanese filmmaker, producer, editor and practice-based PhD candidate at the University for Creative Arts. His research interrogates the Lebanese film industry’s fraught relationship with the civil war and with post-war funding structures – particularly the cultural and political implications of French co-production models. Having worked as an actor from 2010 to 2017, Jamal later shifted focus into directing, writing and producing. He has since developed an artistic practice grounded in satire, political critique, and formally inventive storytelling.

 

81

Minutes

2025

Release

Production

Lebanon

Bio – Filmography

Ashraf Mtaweh

Born in 1985 at Mimes, Lebanon, he lives and works in Beirut.
He holds a BS in Computer Sciences (2005) and a BA in Cinema Studies (2010). He is an artist and independent filmmaker writing, directing and producing films.
His work includes a medium length film: متلت بلدي أصيل (2019).
Four short films: ببتعد… معرفش أو بقترب (2016), Bank Black Presents (2012), Daraj (2011), 10 Beiruti Minutes (2010). A radio show: الآتي أعظم (2020).

A Photography project: Ctrl C, Ctrl V (2019).
A 5-channel video installation: On Finger Tips (2017).
15 episodes TV series: موقف للعموم (2015).
And Before They Arrive / قبل ما يوصلوا (2025) his first feature film

His main concern is to test and experiment with the societal impact of the work, be it film or other art forms. His works address social issues he finds urgent now and here, and he is in search of the proper methods of presenting them as an art that is socially engaged, where the social interaction itself is part of the art being produced and a trigger of its evolution. The works are not just creative products; they’re a research process, a way of making meaning, a discussion tool and thus a mean of communication with others.

Director’s Statement
The idea for this film was born during a period of instability in Lebanon, amidst economic collapse, political turmoil, and the broader context of war that affects our very existence. The story takes place within a single apartment in an area that is both semi-rural and semi-urban, and it follows Samer and Rana, two young individuals from a middle or lower-middle-class background. The setting reflects the nature of Lebanese society, influencing their interactions and the development of the plot.
The initial script was written during the early days of the economic crisis and the October 2019 uprising and was completed after the Beirut port explosion. Although these events are not depicted directly, their impact is clear on the characters and the general atmosphere of the film. Beyond the direct event, the film mirrors the broader context of living through one catastrophe after another, showcasing the absurdity of normalizing these crises.
The fragile relationship between Samer and Rana is the core of the film. Samer is politically active, oscillating between a desire for revenge and a search for radical solutions. Rana, on the other hand, suppresses her emotions, embodying societal disillusionment. These characters reflect my personal experiences and internal conflicts—frustration with the political scene in Lebanon and the emotional and psychological challenges we face in such an environment. Having grown up in the same apartment and environment where the film is set, I infused my own struggles and perspectives into the journey of my two main characters.
The film’s visual style uses a handheld camera and natural lighting. Long takes with minimal editing reflect the relationship dynamics between Samer and Rana. As tensions rise, the distance between them grows, reflected in their positions and movements within the house. Alongside the image, sound plays a pivotal role, appearing as an independent character influencing the film’s trajectory. Samer and Rana’s relationship with the outside world is built solely through sound, as the camera scarcely leaves the walls of the home. The sound of the outside world intrudes upon and turns the quiet world of Samer and Rana upside down.
Thematically, the film explores the political, social, and economic turmoil in Lebanon and its impact on daily life and social relationships. Samer and Rana represent a young segment of society struggling and grappling with their personal crises and the surrounding crises to find a path toward the future.
Producing the film faced significant challenges, from the fuel crisis and power outages to financial constraints and the intensification and eruption of the political crisis during the Tayouneh events in the fall of 2021 while filming. Faced with these conditions, and with a crew mostly working on a feature film for the first time, we decided early on that the only possible way to produce our work was to turn the filming location into a co-living space for the entire team for one month before shooting. This allowed us to immerse ourselves in the world of the film, experiment, learn, and create an environment where the story could be lived, independent of the filming process.
Making a feature film in Lebanon today requires understanding and adapting to the concrete conditions we face, not following models from other places or times. This film is a dialogue with our society, reflecting our unique challenges and the ways we deal with them. It invites viewers to reflect on their own struggles and connect with Samer and Rana’s journey, finding resonance through their story.