On 13 July 2006 the July War started in Lebanon and three days later the beloved of the Lebanese artist Fouad Elkoury declared their parting. During the following 33 days, while military operations go on, war and love would meet on the pages of the artist's photo diary and become the inseverable elements of the narrative as well as evolving into each other images and text. First in sieged Beirut, then in Istanbul where the artist would go to meet his beloved, the attempts to save love would evolve together with the hope for the piece. Seemingly, there is nothing more distant than war and love, nevertheless the language of war penetrated into love. One must "conquer" his beloved and the trauma of loss and parting is like the pain of military casualties. Istanbul has become a "no man's land" for the sweethearts, a fragile space of love and a shelter from the external reality. Remembering two iconic film love stories, which develop against the background of the cities or even the world being destructed ("Hiroshima My Love" ("Hiroshima mon amour") by Alain Resnais and "The Jetty" ("La Jetée") by Chris Marker) the Lebanese writer and artist Jalal Toufic compares the space of the sweethearts with the Noah's Ark and concludes: "Every love of a man and a woman takes place in seclusion from the world; every love of a man and a woman has for horizon the destruction of the world since they can restart the human race..." A glimmer of hope for the relationship's renewal on the last page of the diary comes with the end of military operations. But will they bring the concluding certainty? World history and human love stories prompt the negative answer.