There is a hypnotic horror and compulsion to watching Eléonore Weber’s chilling There Will Be No More Night. Scene after scene of brutal murder is played out in the crosshairs of gritty black-and-white footage, as if from a low-grade 1980s computer game.
The pilots of military helicopters – from America, France, Britain, or any other of the world powers playing God in the skies above poor, troubled countries from Afghanistan to Syria – will argue that they are soldiers, engaging the enemy under clear rules of engagement.
But what risk do these modern-day macho men take when they casually agree – yet again – that what they see through the sophisticated technology of their helmet-mounted, gun-toting camera is a group of armed men, intent on killing. Killing who? Certainly not the remote helicopter jockeys hundreds, even thousands of metres distant from their prey.
The silhouettes of peasants – armed or not – are «suspicious» whether they are running or huddled under bushes. There is no escape – the cameras see as clearly at night as during the day and can zoom in close enough to pick up the colours and contours of their targets’ clothing.
Weber, who viewed countless hours of horror from military footage, that was never meant to be seen by civilians, consults a French pilot named only as Pierre V. to help interpret …
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