Lebanese filmmaker Christian Ghazi considered his striking and ambitious experimental fiction One Hundred Faces for a Single Day to be his 'personal manifesto'. Through disjointed plots and overlapping storylines he delivers a searing critique of the Lebanese bourgeoisie in their apathy and hypocrisy, at the same time as celebrating the militant masses for their sacrifices. Disparities and dissonances are rendered, shard-like, to convey frictions between people on intersecting levels of class, nationality, gender. The film's bold and layered sound design is as jagged as its images – something Ghazi claimed was to prevent the viewer from relaxing while viewing. Radio crackles throughout, complicating the idea of ​​news, received information and its relationship to action. Silence too makes an appearance, sharpening the viewer's focus to the movement of the fida'i tracked from a birds-eye-view as they navigate a rocky terrain. A paean, if not an exhortation, for resistance through direct action – as the resolute voice over, quoting Darwish's Roses and the Dictionary intones: I refuse the roses as defined in a dictionary, or cited in a collection of poems. Roses grow on the arms of a peasant and in the fist of a worker. Roses grow from the wound of a fighter and on a rock forehead.