In 2018, ill with an incurable cancer, the French-Lebanese filmmaker and artist Jocelyne Saab embarks on a general retrospective of her work as an artist. Her choice goes to the still images. Since 2007, marked by the violent criticism and censorship of which her film Dunia is victim in Egypt, Jocelyne Saab turns to contemporary art and photography. Her first series have been exhibited worldwide. Others have remained unpublished. Between moving and still images, the work that Jocelyne Saab carried out at the end of her life was in line with her initial work as a war reporter: to show the reality of civilians, to denounce injustice and to choose the weapon as a means of going against the grain of the mass media. With her book Zone de Guerre (2018), Jocelyne Saab tackles a new medium, and another audience. The publishing is another language to spread her works. This book freezes in a few scrupulously selected photograms the 35 documentaries she made during the Lebanese civil war, alongside the Polisario Front in the Western Sahara, in Iran in the aftermath of the Islamic revolution and in the Egypt of Sadat and Mubarak. Saab also unveils location photographs from her fiction films and art videos, as well as unpublished photographic works. In this way, she brings to life projects that had never been able to see the light of day and offers, within this book of images, fifty years of Middle Eastern history. In light of her prolific career as a journalist and filmmaker, I wish to revisit the methodology adopted by Jocelyne Saab in the conception of this work, which magnifies the present of the history of the films she shot by freezing them in symbolic images, and which gives life to the stories she was never able to tell, by revealing series of photographs and fragments of unfinished projects. I want to show that her choice of the still image poses a challenge to the viewer who sees her films as archives or heritage: because they were extracted from the original films at the end of the artist's life, one must say that the images in War Zones are from 2018, not before. It is this dialogue between the past and a present without tomorrow established by Jocelyne Saab that I wish to discuss in her personal relationship to the history of Arab countries.