Once upon a time, in a film, there was a city called Beirut. In that city, Viola lived. She sang songs and killed politicians.
In the fictitious city of Beirut lives Viola, a musician and the leader of an underground movement that is assassinating its corrupt leaders. Farah, the son of a banker politician, returns to Beirut from abroad. As he is escorted to the city in a big black SUV, Viola suddenly steps down the street, stops in front of the car, and obstructs its movement. Through the black-tinted window, she stares him in the eye. He is spellbound. Viola’s intense energy attracts Farah like a magnet, and he keeps on noticing her everywhere, but she keeps on disappearing from his field of vision. When he at last locates her, he is like a moth following the light. And while he thinks her light will save him, Viola has other plans. His father is on the list of her targets, and Farah will be her tool.
However, with Farah in front of her, Viola faces the enemy in flesh and blood. To discover that violence has marked his life, too, and he also needs to be liberated and saved. But Farah will deal with his issues in his own way. In the end, the focused heroine will conquer her obstinacy and question herself, but the city’s striving for salvation is a driving force that no one can stop. It is fate, and destiny will take its course—Farah will kill his father, and he will never come back.
However, with Farah in front of her, Viola faces the enemy in flesh and blood. To discover that violence has marked his life, too, and he also needs to be liberated and saved. But Farah will deal with his issues in his own way. In the end, the focused heroine will conquer her obstinacy and question herself, but the city’s striving for salvation is a driving force that no one can stop. It is fate, and destiny will take its course—Farah will kill his father, and he will never come back.