End of summer 1976, Northern suburb of Beirut. Noha is getting married.
Her family is relieved for she’s taking her last chance before she becomes an old maid like her elder sister.
Everything is going for the best. Still, on that Sunday, fifteen days before the wedding, Noha changes her mind.
Stray Bullet contemplates such questions. It draws its poetry beyond the themes conveyed by the story. Of course, such themes are important but not primordial. The fact that the person who is
going against the current is a woman, and that the unavoidable course is that of marriage does not turn Stray Bullet into yet another film on the status of women, or the marriage institution,
more less the seasoning of these two themes with an oriental touch.
Moreover, its historical context (Lebanon at the beginning of the civil war) is not used to summarily inform the layman or serve as a background. It is offered without a user manual and is
only read as being organically linked to the story. Consequently, it is not interchangeable, and this is fair enough.