Many Lebanese films and documentaries of the last few decades have focused on the hidden legacies of the civil war (1975–1991) that remain unprocessed in public, and often private, life. Unsurprisingly, these works have often been discussed by critics through the lens of traumatic cultural memory. In the first part of this article I argue that this model is productive yet insufficient. I suggest, instead, a methodological approach which acknowledges the intersections between trauma and other processes underpinning everyday life in the city. In the second part of the article I apply this approach to the film A Perfect Day (Hadjithomas and Joreige, 2005). Using the directors’ own concept of latency, I analyse the affective modes of touch, breath and the hidden life of objects to show how the performative existential drama that unfolds in the film opens out onto processes that go beyond the haunting legacies of violence from the civil war and includes a vision of singularity and infinite possibility that relates back to the birth of cinema itself.

过去几十年的许多黎巴嫩电影和纪录片都关注内战（1975-1991）隐藏的遗产，这些遗产在公共生活，通常是私人生活中仍未得到处理。不出所料，评论家经常通过创伤性文化记忆的视角来讨论这些作品。在本文的第一部分，我认为这种模式是有效的，但还不够。相反，我建议采用一种方法论方法，承认创伤与支撑城市日常生活的其他过程之间的交叉点。在文章的第二部分中，我将这种方法应用于电影“完美的一天”（Hadjithomas 和 Joreige，2005 年）。使用导演自己的潜伏概念，我分析了触摸、呼吸和物体隐藏生命的情感模式，以展示电影中展开的表演性存在戏剧如何打开超越令人难以忘怀的暴力遗产的过程。内战，包括与电影本身的诞生有关的奇异性和无限可能性的愿景。