Tadur is a pastoral escapade. It depicts an imaginary world deep in Mount Lebanon, where criminals, impoverished farmers, and monastic sages are immersed in both beauty and brutality. The Arabic word "tadur" encapsulates the essence of this world, meaning to spin, orbit, turn, revolve, rotate, cycle, or circle.

A woman attempts to get through her day-to-day tasks in her apartment, but she keeps getting interrupted by the sound of an approaching ambulance.

Lebanon, 1982. To keep a promise made to an old friend, Georges, an idealistic theater director, travels to Beirut for a project as utopian as it is risky: to stage the play Antigone on the front line, in order to steal a moment of peace from the raging civil war. The characters will be played by actors from different political and religious camps. Lost in a city and a conflict he knows nothing about, Georges is guided by Marwan. As fighting resumes, everything is soon called into question, and Georges, who falls in love with Imane, has to face up to the reality of war.

Beirut, Lebanon. Hassan is assembling wooden boards. His wife is dead. He is building her coffin. Tamara and Rami, the children, in their twenties, are helping him as best they can to fulfill her last wish: to be buried in her childhood village, abandoned for more than 20 years.

Four darkly funny tales about Lebanon: Activists planning a protest descend into internal strife. Three sisters and their mother argue while an incompetent plumber destroys their flat. Depressed life coach Malek wants to die and seeks help from a «death coach». A stand-up comedian who jokes about a meteor strike that could put Lebanon out of its misery, is blamed when it appears to come true.

Fifty-five-year-old Nayla is a supervisor at a factory in a Beirut suburb, and struggles to ensure her family’s survival. The war in the south of the country threatens to spill over at any moment, in a country plagued by an economic collapse. Her unemployed, alcoholic husband Mounir, an ex-Civil War militiaman, spends his time watching television. The couple’s feeling of unease fluctuates between aggression and guilt. One night, their twenty-three-year-old daughter Rania knocks over a man while driving home. Nayla is caught up in a vicious circle: She finds herself with Rania, in hospital, facing a family from “the other side.” Animosity and curiosity alternate. For the first time in a long while, Nayla does some deep soul-searching. Her relationship with her husband worsens. But the injured man's condition suddenly deteriorates and he dies. Rania is taken to prison.