There’s a special place in the hearts of cinema lovers for films about cinema itself—whether exploring the behind-the-scenes of a famous production, the early days of a studio, or the history of old movie theaters. Hady Zaccak’s film Cilama takes us on a meticulous journey through the history of movie theaters in the Lebanese city of Tripoli, focusing on the latter.Zaccak chose the title from the old term for “cinema” used in certain regions, pronounced Cilama. This choice hints at the film’s approach, which draws not from a dry historical account but from the collective memories of people who experienced these places firsthand—whether as theater owners or regular moviegoers. The director employs a challenging technique, relying exclusively on photographs throughout the film, while voiceovers from interviewees share their memories of the films and theaters that once thrived in Tripoli.However, the film doesn’t stop with these locations. It broadens its scope to offer a more comprehensive view of Lebanon during an earlier era, illustrating how the films shown and the public’s engagement reflected the mood of the people and how this evolved over time. It captures the vibrancy of theaters that were once bustling with life, only to be abandoned and closed in later years, whether due to war or shifting public tastes. While focusing solely on theaters in Tripoli, it evokes memories of similar cinemas in many other countries, particularly Egypt, which features prominently in the film. Egyptian films are frequently mentioned in the interviewees’ recollections, as they were a significant part of the cinema scene in the past.Cilama is an engaging blend of history that resonates with viewers, stirring personal memories in various ways. At the same time, it serves as a poignant elegy for the state of cinema in Lebanon—and perhaps for Lebanon itself.Andrew Mohsen