The movie follows a group of Lebanese women that tries to ease religious tensions between Christians and Muslims in their village. The goal of the movie is to portray the absurdity of confessional differences and of the war it inspires.

In 2003, Nada Sahnaoui appealed to the general public through the press and the internet with the question “Do you have a memory of your daily life in Downtown Beirut before the start of the war in 1975?”. Sahnaoui assembled these collected memories along with blank pages representing missing texts and lost memories in 20-tons structures of newspapers. The exhibition was presented on Martyrs’ Square, Downtown Beirut. The exhibition sought to reflect the double-destruction suffered by Martyrs’ Square during the war and the post-war reconstruction project.

In 2006, Nada Sahnaoui worked with the The Committee of Families of the Kidnapped and Disappeared in Lebanon on the exhibition Waynon?(Where Are They?) consisting of an installation representing the plight of the families of the kidnapped and disappeared. It highlighted post-war governments’ complete neglect of this legacy and emphasized the necessity of ‘remembrance in order not to repeat’. The exhibition was presented in Beirut and Belgium.

‘Haven't 15 Years of Hiding in the Toilets Been Enough?’ is an exhibition presented by artist Nada Sehnaoui in memory of the 15-year Lebanese civil war. The exhibition took place in downtown Beirut in April 2008 and consisted of an installation of 600 toilet seats reflecting 15 years of suffering and trying to avoid shells and armed conflicts often by hiding in the toilet. It involved public discussion of daily life during the Lebanese Civil War as well as testimonies of former fighters including Asaad Chaftari and Mohieddine Chehab.

This documentary shows interviews with six former Christian Phalange militia men recounting events of 1982 Sabra and Shatilla massacre. Their faces are unidentifiable or blacked out (98 min)

MARCH established a cultural space between Beb El Tebbeneh and Jabal Mohsen, which can serve as a location for the young men and women involved in the play (what play?) to keep on working together off-stage and using the tools they have learnt to spread the message to a wider audience, and earning a living at the same time. It will also serve as a cultural space, where events such as other plays, stand-up comedy gigs, rap sessions and other expressive art forms can find a platform in the neglected conflict areas in Tripoli. This space is a meeting space where youth can meet and interact around positive ideas. MARCH established a cultural space between Beb El Tebbeneh and Jabal Mohsen, which can serve as a location for the young men and women involved in the play (what play?) to keep on working together off-stage and using the tools they have learnt to spread the message to a wider audience, and earning a living at the same time. It will also serve as a cultural space, where events such as other plays, stand-up comedy gigs, rap sessions and other expressive art forms can find a platform in the neglected conflict areas in Tripoli. This space is a meeting space where youth can meet and interact around positive ideas. MARCH established a cultural space between Beb El Tebbeneh and Jabal Mohsen, which can serve as a location for the young men and women involved in the play (what play?) to keep on working together off-stage and using the tools they have learnt to spread the message to a wider audience, and earning a living at the same time. It will also serve as a cultural space, where events such as other plays, stand-up comedy gigs, rap sessions and other expressive art forms can find a platform in the neglected conflict areas in Tripoli. This space is a meeting space where youth can meet and interact around positive ideas. MARCH established a cultural space between Beb El Tebbeneh and Jabal Mohsen, which can serve as a location for the young men and women involved in the play (what play?) to keep on working together off-stage and using the tools they have learnt to spread the message to a wider audience, and earning a living at the same time. It will also serve as a cultural space, where events such as other plays, stand-up comedy gigs, rap sessions and other expressive art forms can find a platform in the neglected conflict areas in Tripoli. This space is a meeting space where youth can meet and interact around positive ideas.

In 2017, Lebanon Support launched a call for paper on "History of Conflicts in Lebanon: A critical perspective". It aims at understanding conflictuality in Lebanon from a socio-historical perspective by analysing the forms and contestations of political violence in the country.In 2017, Lebanon Support launched a call for paper on "History of Conflicts in Lebanon: A critical perspective". It aims at understanding conflictuality in Lebanon from a socio-historical perspective by analysing the forms and contestations of political violence in the country.In 2017, Lebanon Support launched a call for paper on "History of Conflicts in Lebanon: A critical perspective". It aims at understanding conflictuality in Lebanon from a socio-historical perspective by analysing the forms and contestations of political violence in the country.In 2017, Lebanon Support launched a call for paper on "History of Conflicts in Lebanon: A critical perspective". It aims at understanding conflictuality in Lebanon from a socio-historical perspective by analysing the forms and contestations of political violence in the country.

Mapping of Political Violence in Lebanon (1975 - 2008) is a project by Lebanon Support in partnership with the International Center for Transitional Justice (ICTJ) and Friedrich Ebert Stiftung (FES) in Lebanon. The objective of the project is to gather incidents of political violence and human rights violations that occurred in Lebanon between 1975 and 2008 all in one interactive mapping. Mapped incidents include mass killings, bombardments of residential areas, systematic and widespread use of torture, assassinations, arbitrary detention, enforced disappearances, sieges of villages, and deprivation of civilian populations of food and water. The project also includes six interactive timelines, having geographically-specific records, of different periods that saw an escalation of violence. Information sources: The project reproduces the data of the report produced in September 2013 by ICTJ titled “Lebanon’s Legacy of Political Violence: A Mapping of Serious Violations of Human Rights and Humanitarian Law in Lebanon, 1975-2008”.

Legal Agenda have been supporting the victims of kidnapping and enforced disappearance during and after the civil war. It has founded a litigation strategy in 2009 with the Committee of Families of the Kidnapped and Disappeared in Lebanon (CFKDL) and Support of Lebanese in Detention and Exile (SOLIDE) as well as a network of NGOs working on the same issue. Legal Agenda supported the development of ‘Law for Missing and Forcibly Disappeared Persons,’ which was proposed for the parliament. The partners made efforts to invalidate the Lebanese Government’s decision to conceal the findings of the government-appointed Commission of Inquiry in the Fates of the Missing and Forcibly Disappeared which was formed in 2000 under pressure from the families of victims. The initiative led to the decision of the State Council to recognize the families’ right to truth and forced the government to share the findings of the Commission. In addition, Legal Agenda made a supplement for the issue of disappearance in its regular magazine and website.

In March 2014, under relentless pressure of the Committee of the Families of the Kidnapped and Disappeared and other NGOs, the Lebanese State Council issued a ruling that recognised the right to know the truth for the families of victims of enforced disappearance. It committed the Lebanese Government to provide a complete copy of the investigation report carried out by the Government-appointed Official Commission of Inquiry in 2000. Indeed, this report did not reveal the fate of a single person among the disappeared.