This chapter first asserts that ‘speculative’ forms of documentary art — defined as playful, experimental and unbridled — accentuate the uncertain boundary between fiction and fact, but also between evidence and affect. With this in mind, it then proposes a detailed study of the work of artists Joana Hadjithomas and Khalil Joreige, who use the speculative documentary form to examine the legacy of the Lebanese Civil Wars through its material traces. This case study shows that by confronting spectators to cinematic loops and material traces of the Lebanese Civil Wars in gallery installations, their documentary works formally and intellectually challenge their understanding of public and private memory, under which material and affective traces of these traumatic events continue to circulate today.