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Downloaded from
YTS.MX

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Official YIFY movies site:
YTS.MX

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THERE WILL BE NO MORE NIGHT

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While they are flying, everything
the pilots watch is being filmed.

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Everything that is
recorded is then archived.

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In the theater of external operations,

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deleting the recordings is
a violation, or even a crime.

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There are two pilots
in each helicopter.

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Below is the pilot
flying the machine,

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above is the
commander, “the gunner”.

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The commander wears a helmet
that manages the camera of the helicopter.

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If he turns his head to see
what is happening to his left,

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or if he turns to his right,
if he looks down,

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the camera follows.

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His head movements
also guide the machine gun.

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Together, they make
one body.

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I've encountered Pierre V.
several times,

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he's a pilot in
the French army.

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When he's at the controls
of his helicopter,

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he wears field glasses
that intensify light.

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If he lifts his head
to look at the stars,

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their number is multiplied
by one hundred.

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Pierre V. says that it's
a unique experience:

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to see a hundred times
more stars than usual.

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In the viewfinder of his
thermographic camera too,

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everything that
produces heat glows,

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living beings as
well as car lights.

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Pierre V. says that he is often
disorientated by those light reflections.

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During their training,
the pilots undergo this exercise:

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they follow a car, never
taking their eyes off of it.

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They concentrate
hard on it.

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Then after a moment,

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someone asks them if they remember
the route that the car has taken.

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And they realize
that they don't know.

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They don't remember.

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They have completely forgotten
the route, the terrain, the curves.

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For pilots, this loss
of visual contact

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is the most disturbing
thing of all.

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Losing visual contact,

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that is how soldiers
refer to the moment

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when the enemy
gets out their sight.

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Either they lose
sight of the target,

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or they lose sight of the trajectory
the target has taken.

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In either case,
it causes uneasiness.

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A man disappears
for an instant,

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and we are no longer
sure of anything.

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Someone might
have taken his place.

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Or he had the time
to hide his weapon.

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The helicopters are
hundreds of meters,

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sometimes kilometers,
from their targets.

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And the pilots can't hear anything
happening on the ground.

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They are cut off.

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They feel neither the wind,
nor the heat, nor the cold,

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they don't know if their enemies
are talking, if they shout.

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The only noise that
they can sometimes hear

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is the sound of strafing
from their own cannon.

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Despite the power
of the cameras,

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Pierre V. complains
of not seeing well.

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Or rather: too much and not enough
all at the same time.

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The cameras suddenly zoom in
on what they are filming.

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They zoom so much that he can distinguish
the clothing a man is wearing,

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the design and the
color of the fabric.

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But this proximity alarms him.

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And when he zooms in,
it only lasts an instant.

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His view is intrusive,

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like opening a door
that should not have been.

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Pierre V. also says that
the zooms are nauseating,

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they can't be stood
for very long.

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Pilots learn to never
believe what they see.

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They call it the
“culture of doubt”.

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The more they see,

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the less they believe
what they see.

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At night they have difficulty
differentiating a river from a road.

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The only thing that helps them,
when there is no wind,

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is the reflection of
the stars on the water.

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It is also difficult to
distinguish between men,

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to tell the difference between
a soldier and a civilian.

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But it's not just a question
of good or bad sight.

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Soldiers only have
the right to fire

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if they are sure of their
enemies' hostile intentions.

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At least that is what their
rules of engagement say.

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When soldiers talk about war,
these questions always come back:

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doubt, clearance to shoot.

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The imbalance of the
forces is irrevocable

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and the pilots are
now out of reach.

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The only thing they
risk says Pierre V.,

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is to find themselves
before a court of law.

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They are haunted by the fear
of committing a blunder.

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But realistically they no longer
know what a blunder is.

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The definitions are blurry.

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And no pilot is taken to law court,

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or it's very rare.

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According to Pierre V.,

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the gunner must
learn to refrain himself

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because everything
is too easy.

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And when he is at the
controls of his machine,

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he must regularly pinch himself
to be sure he isn't dreaming.

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When they hear the
sound of a helicopter,

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Iraqi or Afghan fighters quickly
hide their weapons behind a wall

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or even throw them
in the middle of nowhere.

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And that complicates
the pilots' task even more.

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They have problems,
when bodies scintillate,

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distinguishing between a farmer
carrying a rake on his shoulder

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and a soldier with
a Kalashnikov.

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In Afghanistan,

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villagers have been killed in the
middle of the night by air strikes

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while watering the fields.

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Because of this
possible confusion,

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farmers also hide their tools when
they hear a helicopter approaching,

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for fear that they be
mistaken for rifles.

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Pierre V. has watched
this scene several times.

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He felt that these men
looked suspicious,

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he thought that they were
preparing something bad.

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It's obvious to him.

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The hesitations,
the coming and going,

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the discussions.

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It's the middle of the night,

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Pierre V. says that they have
no business being in the field.

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And they don't seem peaceful.

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There's one who starts to run.

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And a man who runs,
that’s what is most noticeable.

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When I ask if they
hear the helicopter,

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Pierre V. says yes,
undoubtedly.

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When I ask why
they don't run away

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since they hear
the helicopter,

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Pierre V. says it would make
them even more suspicious.

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According to him, they
are pretending to be calm.

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When I point out that one of
the men was jumping cheerfully,

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Pierre V. doesn't answer.

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But he adds there is always
a risk of being wrong.

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When I ask if it's normal
that the pilot continues

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to go after the man
who rolled under the truck,

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he replies that it's
not very decent

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but once you
start shooting

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it's difficult to stop.

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The distinct spots
visible on the ground,

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Pierre V. thinks
they are a mixture.

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They are bomb fragments
and also some blood.

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Maybe it's a crime,
says Pierre V.

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but he immediately adds:

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the pilot could always say that they never signed the
Geneva Convention for the protection of the wounded,

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so it doesn't apply.

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As he was watching this scene,

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Pierre V. mentioned the insolent
tranquillity of the man in white.

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When the pilots
shoot at a man,

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then they must give
the film to their hierarchy.

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The military will watch
the scene later, calmly.

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They will ask if the
shooting was justified.

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They will verify,
by examining the images,

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that the man who was killed
actually had hostile intentions.

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They will discuss,
they will interpret.

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When things are not
sufficiently distinct,

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they will resort to what
is not seen, the context.

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They will invoke,
if necessary,

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the principle of delayed
legitimate defence.

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Then the pilot will
consult a psychologist,

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he will consult another
one six months later.

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You don't know when
the anxiety will appear,

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you don't know when
the guilt will appear.

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It may never appear.

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Or it can come,
according to Pierre V.,

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when the soldier is sitting
comfortably in his living room,

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when he is with his family,
while watching TV.

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The anxiety is so hidden that it
will surprise him when least expected.

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It is as hidden
as these images,

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these scenes buried
in the army archives,

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these films shot
each day far from home.

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It's an endless film.

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Each instant is recorded,

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even when there
is nothing to see.

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Pierre V. says these images
are not meant to be watched.

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According to him, these
documents are strictly operational,

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and that perspective
can only elude me.

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I believe that one day
they will come out again,

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they will haunt us,
just as childhood images.

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This scene was
filmed by the French.

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A Puma is picking
up ground troops

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while another helicopter,
a Tiger, covers the operation.

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In the beginning, the pilots
scrutinize the landscape,

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everything is normal.

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But a little later,

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enemy silhouettes
appear over the ridge.

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According to Pierre V.,

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before they appeared, these men
were hiding underneath blankets.

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It’s a usual method
used by the Afghans.

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They soak the blankets
in water, and at night,

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in the mountains,
they cool down very quickly.

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The bodies beneath
become invisible.

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When I point out the fact that French
helicopters are named after wild animals

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the Puma, the Gazelle, the Tiger,

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it makes Pierre V. smile.

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He adds that sometimes
they have the prey's name,

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sometimes the predator's.

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Americans name their helicopters
after Indian tribes they've massacred:

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Apache, Kiowa, Cheyenne.

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Pierre V. says that
people don’t run away,

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except when there is shooting
or an explosion, and even then,

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sometimes it doesn’t
impress them anymore.

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After many years of war and
the noise of helicopters above them,

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they wouldn’t be able to live
if they thought about it.

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They hear a noise, sometimes
the noise is constant,

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but they don’t know if they
are the ones being targeted.

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They feel an eye
watching them,

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an eye with an eyelid that
doesn’t close anymore.

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But we can’t constantly
be afraid,

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it’s impossible to run
away all the time.

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Again.

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To see, if possible,
even further.

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It doesn't matter that
there is absolutely nothing to see.

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Whether there is only the ground,

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or the sky.

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To keep scrutinizing.

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Until there are no more landmarks.

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Nothing which allows you
to judge your own actions.

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No more constraints.

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Pierre V. thinks this video has changed
people's point of view on those wars,

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because it has caused a scandal.

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One of the men hit by the soldiers
that day was a journalist,

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a journalist who came
to take pictures.

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In his bag,
there was no rifle,

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but a camera tripod.

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From the beginning to the end,

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the pilots were wrong about
what they were watching.

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If there was one thing to learn
from the scene, says Pierre V.,

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it is that the more pilots can see,
the more they can make mistakes.

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This is how we make war.

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We can’t know if these
images represent the rest,

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or if the rest is worse.

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One day, what the pilots so often
thought they saw, becomes reality.

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Everybody ends up
wearing a Kalashnikov:

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the citizens, the peasants,
the shepherds, the insurgents,

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the Taliban, the Islamists.

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In the villages, in the cities,
in the mountains.

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On their screens, it's the
only thing the pilots see.

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They repeat endlessly
the same sentences.

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And when men appear,

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their enthusiasm to see that
they are armed stays intact.

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As if each time
it was a surprise.

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There is always someone
behind the camera.

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Even when we think
there is nobody.

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Even when it is a machine
which films, or a technician.

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There is always someone watching.

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Someone who records
and who watches.

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This time, the pilots
were surprised,

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they had nothing to do with it.

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They yelled as they would have
yelled in front of an achievement

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00:52:14,660 --> 00:52:15,940
or a catastrophe.

248
00:52:20,780 --> 00:52:24,500
Yet it’s not the first time that
they witness this kind of scene,

249
00:52:24,700 --> 00:52:27,820
that they see a handmade
bomb suddenly explode.

250
00:52:38,300 --> 00:52:41,900
Now they can’t stop turning
around this sort of eye

251
00:52:42,060 --> 00:52:43,580
immersed in the sand.

252
00:52:53,820 --> 00:52:57,340
When I ask why they dwell
on the location of the explosion,

253
00:52:57,940 --> 00:53:00,820
Pierre V. answers that
the pilots always check,

254
00:53:01,700 --> 00:53:03,740
even if there is
nothing to see.

255
00:53:07,140 --> 00:53:08,260
They turn in circles,

256
00:53:09,020 --> 00:53:10,660
it’s a kind of ritual.

257
00:53:21,460 --> 00:53:24,100
Then he adds that
this scene is particular,

258
00:53:24,260 --> 00:53:26,260
because of the astonishment.

259
00:54:14,420 --> 00:54:17,540
When I ask him if he
has already seen death,

260
00:54:18,100 --> 00:54:19,620
Pierre V. answers no.

261
00:55:43,780 --> 00:55:46,380
One day I ended up on
this scene of daily life,

262
00:55:46,580 --> 00:55:48,540
found among the
war scenes.

263
00:55:57,460 --> 00:56:00,900
A soldier is filming children
playing in an Afghan village.

264
00:56:05,580 --> 00:56:08,660
At first it is worrying,
but the cross in the viewfinder

265
00:56:08,820 --> 00:56:10,340
becomes less precise,

266
00:56:11,460 --> 00:56:12,900
as if relaxed.

267
00:56:18,900 --> 00:56:23,420
At moments it becomes threatening again,
but regularly, I can't see it anymore.

268
00:56:33,820 --> 00:56:37,420
This soldier seems to have forgotten
that his camera is a weapon

269
00:56:37,940 --> 00:56:40,060
And he uses it to compose a shot.

270
00:57:40,220 --> 00:57:42,220
There will be no more night,

271
00:57:43,100 --> 00:57:45,780
nor need for a lamp or sunlight.

272
00:57:48,340 --> 00:57:50,820
There will be no more distance.

273
00:57:52,580 --> 00:57:55,420
Nothing far and nothing close.

274
00:57:58,620 --> 00:58:01,380
There will be neither shelter nor nooks.

275
00:58:01,620 --> 00:58:03,660
Nowhere to hide.

276
00:58:04,940 --> 00:58:07,580
No more resort or escape.

277
00:58:10,740 --> 00:58:13,100
We will distinguish silhouettes.

278
00:58:13,540 --> 00:58:15,860
But we won't see people's faces.

279
00:58:19,420 --> 00:58:21,900
There will be no more reciprocity.

280
00:58:22,300 --> 00:58:24,580
No more head to head.

281
00:59:18,300 --> 00:59:21,100
The pilots have been flying
for maybe an hour or two,

282
00:59:21,220 --> 00:59:23,580
have surveyed
and overflown the area.

283
00:59:24,700 --> 00:59:26,300
That is what Pierre V. says.

284
00:59:30,900 --> 00:59:32,420
The men are armed.

285
00:59:32,780 --> 00:59:34,860
They might be Talibans.

286
00:59:35,260 --> 00:59:37,020
Or they might be shepherds.

287
01:00:07,140 --> 01:00:09,380
This one hopes to escape.

288
01:00:11,460 --> 01:00:13,620
He drags himself,
as if in this dry landscape,

289
01:00:13,820 --> 01:00:16,420
walking on four feet
could make him invisible.

290
01:00:17,340 --> 01:00:18,260
He is killed.

291
01:00:30,180 --> 01:00:32,540
This one crawls.
They terminate him.

292
01:01:11,140 --> 01:01:14,340
Pierre V. says pilots are proud
when there is no error,

293
01:01:14,620 --> 01:01:15,820
no mistake,

294
01:01:16,420 --> 01:01:20,260
when the sophisticated precision
of the shots is at its zenith.

295
01:01:54,020 --> 01:01:56,540
He is surprised they
got clearance to fire

296
01:01:57,140 --> 01:01:59,220
as there were
civilians nearby.

297
01:02:05,540 --> 01:02:09,060
When I ask him why soldiers
do not capture the fighters,

298
01:02:09,580 --> 01:02:13,340
he says that helicopters could
indeed land in these mountains,

299
01:02:13,780 --> 01:02:15,980
but it is not the
way things happen.

300
01:02:59,620 --> 01:03:01,540
While he is watching this scene,

301
01:03:03,700 --> 01:03:06,180
I see him hesitate for the first time.

302
01:03:10,220 --> 01:03:13,060
But he quickly renounces
to express his doubts,

303
01:03:13,780 --> 01:03:18,100
deciding I am not able to watch
these images the way he does.

304
01:04:13,420 --> 01:04:15,500
How many people
wait in the tents?

305
01:04:20,380 --> 01:04:23,380
How many wait to come out
and retrieve the bodies?

306
01:04:36,220 --> 01:04:38,860
Someone is approaching
slowly and carefully,

307
01:04:40,340 --> 01:04:43,420
it looks like an old woman,
her back hunched.

308
01:04:47,980 --> 01:04:49,740
The pilot watches her,

309
01:04:51,020 --> 01:04:52,900
then turns
to something else.

310
01:05:39,700 --> 01:05:43,300
The war could be told entirely
through the lens of the viewfinder.

311
01:05:44,100 --> 01:05:45,660
Nothing would be missing.

312
01:05:48,860 --> 01:05:51,260
There could even be, in the end,
the soldiers' departure

313
01:05:51,460 --> 01:05:54,500
when the military staff
decide to call back their troops.

314
01:05:57,540 --> 01:05:59,060
But it would be a fake end.

315
01:06:05,060 --> 01:06:07,940
Because when the troops leave,
the ones who live there

316
01:06:08,100 --> 01:06:09,660
are armed to the teeth.

317
01:06:15,420 --> 01:06:16,940
Where there was war,

318
01:06:18,180 --> 01:06:20,300
peace is no longer possible.

319
01:06:22,940 --> 01:06:25,020
That is what saddens Pierre V.

320
01:06:26,980 --> 01:06:29,460
He says it’s disappointing
for the soldiers,

321
01:06:30,020 --> 01:06:32,260
being welcomed
nowhere as heroes.

322
01:07:26,180 --> 01:07:29,100
From time to time,
in the country where they live,

323
01:07:29,380 --> 01:07:31,020
a pilot may be watching them.

324
01:07:37,500 --> 01:07:39,900
They start living
like the others again.

325
01:07:43,340 --> 01:07:44,620
They see their family,

326
01:07:46,820 --> 01:07:48,260
they see their friends.

327
01:07:56,340 --> 01:07:59,780
They have the worn look of soldiers
engaged in an endless war.

328
01:08:15,220 --> 01:08:18,540
Often, Pierre V. has told me
about the soldiers’ impatience,

329
01:08:18,940 --> 01:08:20,980
the role it plays in their lives,

330
01:08:21,180 --> 01:08:22,500
built on waiting.

331
01:08:27,780 --> 01:08:30,140
He says he would not
want a war at home,

332
01:08:31,460 --> 01:08:34,020
he would not want a war
in his own street.

333
01:08:35,900 --> 01:08:38,580
But a foreign operation, yes.

334
01:08:40,820 --> 01:08:42,580
War in another country.

335
01:10:16,660 --> 01:10:19,500
We are at Vilano Beach,
United States,

336
01:10:19,740 --> 01:10:21,740
it's in fact a dark night.

337
01:10:36,860 --> 01:10:38,780
It is neither morning,
nor afternoon,

338
01:10:38,940 --> 01:10:40,420
nor even the
end of the day.

339
01:10:47,020 --> 01:10:49,140
The most recent
cameras can do that,

340
01:10:50,740 --> 01:10:52,380
they can remove the night.

341
01:11:13,100 --> 01:11:15,060
Only the stars create
a disturbance,

342
01:11:15,180 --> 01:11:17,020
because they glow
in the daytime sky.

343
01:11:59,620 --> 01:12:01,140
It’s still night.

344
01:12:06,460 --> 01:12:09,340
And this man plays
at hiding behind a bush.

345
01:12:41,620 --> 01:12:44,500
Soon enough some
will see as in daylight,

346
01:12:47,820 --> 01:12:50,940
the others will stay
immersed in darkness.

347
01:12:55,300 --> 01:12:57,140
Minuscule and stubborn,

348
01:12:57,620 --> 01:13:00,156
they will continue to
advance arduously,

349
01:13:00,180 --> 01:13:02,980
holding small lamps
or flashlights.

350
01:13:12,740 --> 01:13:16,300
The powerful will see them
coming with great clarity.

351
01:13:27,500 --> 01:13:30,020
It will be the world
of the real night,

352
01:13:34,340 --> 01:13:36,140
and of the fake day.