These short films are part of the How To Disappear programme, click here for full information on this programme:

Over the course of three programs comprising short films, feature-length films and video art, we will look into manufactured virtual dimensions, parallel realities used to escape, reflect, critique or control the physical realm. The first episode consists of four video works that each propose a virtual, immersive landscape – simulations that still very much deal with our physical realities. The second episode proposes different ways of looking at the city; through live webcams, maps and virtual re-fabrication. In the third and last program we will focus on the use of surveillance technologies used in warfare. 

Wash. Rinse. Repeat. | Paula Albuquerque 
“Wash. Rinse. Repeat. gives us a glimpse of the psychology of a sensor operator. The work incorporates a letter which a whistleblower – traumatised by the consequences of killing people from a distance – wrote to MIT professor Lisa Parks, and is included in her book Life in the Age of Drone Warfare. The letter is taken out of its academic context and put in a public space, with an American voice-over reading fragments from it. It is accompanied by Paula’s own footage, combined with stock images from the internet made with different types of infrared cameras and drones – glitches of mountain imagery, of somebody walking through forests. Without illustrating the spoken words, the images leave space for the imagination to roam in these undefined spaces. Close by one can see a space blanket similar to those used by people who have undergone trauma.”
 
There Will Be No More Night | Éléonore Weber IDFA x Kriterion
An intense documentary about the tremendous tension between observation and interpretation. The pilots and gunners of attack helicopters who carry out nighttime missions in war zones make decisions with far-reaching consequences, not only for their targets, but for themselves as well; the fear of making a mistake is ever-present.
 

During their flights, the soldiers use thermal cameras to observe movement on the ground: anything that gives off heat lights up. From a distance, landscapes, villages, people, and animals become abstract patches of light and dark, lines, surfaces, and contours. Is the figure among them a Taliban fighter with a Kalashnikov or a shepherd with a stick?

Filmmaker Éléonore Weber had access to video recordings of French and American missions in Afghanistan, Iraq, and Syria. A French helicopter pilot related his often-shocking experiences to her. What begins as a monotone video essay gradually develops a powerful tension, because as viewers we find ourselves in the pilot’s seat. We catch fragments of conversations between crew members; we look, zoom in, interpret, hesitate—and then comes the explosion.