August 4th, 2020. Beirut explodes. The city, already partially shuttered by covid lockdowns and reeling from numerous political and social crises, is submerged by dust and smoke. Destroyed, gutted, at the mercy of a destiny unsparing with its blows, it finds itself on its knees just when its residents were hoping for a moment of calm.
At Tunefork Studios, in the district of Bourj Hammoud, where Fadi Tabbal assembles the creations of adventurous musicians from all over the world (Field Works, Asil Ensemble, Mike Cooper, Oiseaux-Tempête, Praed, Youmna Saba), work goes on despite the storms raging around a community weary with grief. The recording studio still stands after the collapse, but other places did not survive. Many clubs and social spaces are in ruins. They were made of brick and mortar - no match against explosive ammonium nitrate - but they were first and foremost necessary and unifying refuges, cultural symbols full of a passion that not even the rising dawn could abrade.
Initially the soundtrack to an experimental film by Nadim Tabet, the four tracks of Enfin la nuit accompanied images of a Beirut youth that was still dancing at euphoric parties, just a few months before the explosion. This time around, the two major players of the Lebanese music scene Charbel Haber (Scrambled Eggs, The Bunny Tylers, Johnny Kafta Anti-Vegetarian Orchestra, Malayeen...) and Fadi Tabbal (The Bunny Tylers, The Incompetents...) are the actors of that film, in which the story unfolds in real time. Amidst the rubble, is it real life or another movie?