He studied filmmaking in Paris after  architecture studies in Beirut. His short films  have participated in prestigious international  festivals and have been widely broadcasted. His  debut feature film, Falafel, won top international  awards, participated in major film festivals  worldwide and earned international acclaim. Beirut Hold'em is his second feature film.    Filmography   2006 Falafel, Feature film (83 min)  2003 Clowning Around, Short film (7 min)  The Vanishing Rabbits, Short film (7 min)  1999 The Shower, Short film (10 min)  1995 Shadows, Short film (6 min)  1993 Cathodique, Short film (7 min)    Track record of Falafel    Theatrical release in France (Les Films du  Paradoxe) and Lebanon (Italia Films) in Germany  (Mitos Films) and Benelux (Coopérative Nouveau  Cinéma).    Winner   Golden Bayard Best Film, NAMUR 2006  Muhr award Best Film, DUBAI 2006  Palmera de Bronze, VALENCIA 2007  Audience Award, LILLE 2007  Best First Film Award, ALEXANDRIA 2007  Golden Bayard Best Music NAMUR 2006    Official Selection    Tribeca 2007  Tokyo 2007  Göteborg 2008  3 Continents, Nantes 2006  Munich 2007      From the Press    “Falafel chronicles Lebanon’s post civil war emptiness with  a light touch as it zaps between playful clowning and edge-  of-violence darkness. Through shot before the recent Israeli  conflict, the film seems to hold a prescient warning of  conflict lurking around every corner” (Variety)    “Michel Kammoun turns in a freshly confident feature  debut with Falafel. Kammoun tells his story through tight  and confident scripting. Falafel is funny and energetic,  dispensing insights without preaching them.” (Screen  International)    “Clever, funny, touching” (The Australian)    “The ready violence into which a Hollywood film  might casually explode is not on Kammoun’s agenda:  subverting that mindset is, with a touchingly homey  matter sidetracking Tou in the most loving way. And  what could have been a diverting but ultimately  throwaway movie experience becomes something you  just can’t shake.” (Flick Filosofer)    “Kammoun lets the camera move freely about the  motley crew of friends and strangers, lingering on  odd little bits of conversation and focusing in on  funny-poignant subplots. This freewheeling artistic  style, coupled with naturalistic, seemingly off-the-cuff  dialogue, evokes the work of American auteurs like  Robert Altman and John Cassavetes, but Kammoun  puts his own stamp on this filmic style, infusing it with  a slow-simmering, utterly intoxicating, erotic energy. “  (New York Cool)