06.10 - 17:00 | 07.10 - 19:30


There will be no more night

Year: 2020
Country: France
Length: 76 min
Language: English, French
Subtitles: Spanish, English

Director: Éleonore Weber
Producer: Gaëlle Jones
Cinematography: Éléonore Weber
Editing: Charlotte Tourres, Fred Piet, Éléonore Weber
Production: Perspective Films
Distribution: Filmotor


“There will be no more night” is based on video recordings from the American and the French armed forces in Afghanistan, Iraq, Syria… The film diverts these propaganda images and show how far the desire to see can lead to, when it is used without limit.

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Éleonore Weber


Éléonore Weber is an author, and theatre film director. Her approach until now explores both the theatre and cinema languages. Regarding cinema, she directed a short and a medium lenght fiction film, "Temps mort" and "Les hommes sans gravité". She has also directed a documentary, "Night Replay" (Arte - La Lucarne), shot in Mexico and reliesing on reenactments from a role-play invented by migrants. Regarding theatre, she has created some plays and performances whit Patricia Allio, centred on a manifest entitled "Symptôme et proposition". Together or separately, the two artists presented their creations at the Festival d'Avignon, the Bastille Theatre, the Grande Halle de la Billette, or the Centre Georges Pompidou for the festival d'Automne.

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There Will Be No More Night is an essay based on the night vision cameras that are incorporated into war helicopters, in particular those used during war missions in the Middle East carried out by Western countries such as the United States or France, the birthplace of director Eléonore Weber. Cameras that produce the unnatural effect of pretending to always see everything, wanting to eliminate darkness and night.

Direct questions to a mysterious military pilot, who offers explanations and clarifications about his controversial tasks, or elucubrations about the fact of seeing, looking, observing, chasing, shooting, killing, elaborate his speech that is sustained in terrifyingly hypnotic images. The entire essay is constructed from the footage that the helicopters recorded in their military actions. A war file that should be secret but is not.

In Weber’s essay, the viewer is placed in the peephole of those obsessive, persecuting, and sometimes deadly eyes. Of anonymous civilian citizens down on Earth, and of the military flying over the sky. The filmmaker penetrates those images, frowned upon quickly and sometimes running in the media, investigating their meaning, construction, aesthetics, through an enveloping sound and impeccable narration.

Miquel Martí Freixas
MajorDocs Programming Team

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