Born in 1972, author, director and director, Eléonore Weber defends the idea of digging the same furrow in several fields. Her obsession: our relationship to reality, which she explores through images as well as theater, fiction and documentaries. Interview.
Your film consists exclusively of images taken by soldiers, helicopter pilots, on the front lines in the Middle East. Where do they come from?
Internet. The soldiers, it is an obligation, record each mission on a USB key. Some of them, whether they are proud of it or find it funny, post them on the web, often on veteran sites. There are mainly images of the American army but also of the French and Iraqi armies.
Are they not classified as “defense secret”?
That’s the whole question: why is the army doing nothing? In my opinion, this is a form of indirect propaganda. The pilot I interviewed (nicknamed Pierre V.) has a hypothesis: after the blunder revealed by Wikileaks – which we see in my film – where a journalist and his team, taken for insurgents, were bombed by mistake , the Americans wanted to circulate sequences where real enemies are being killed. Hence their tolerance for these leaks.
Pierre V., in the voiceover text said by actress Nathalie Richard, reproaches you for decontextualizing these images: “They are not made to be watched, are strictly operative.
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