by Werner Herzog
Sep 04, 2012 | 504 views | 0 0 comments | 4 4 recommendations | email to a friend | print
After the first war in Iraq, as the oilfields burned in Kuwait, the media—and here I mean television in particular—was in no position to show what was, beyond being a war crime, an event of cosmic dimensions, a crime against creation itself. There is not a single frame in Lessons of Darkness in which you can recognize our planet; for this reason the film is labeled “science fiction,” as if it could only have been shot in a distant galaxy, hostile to life. At its premiere at the Berlin Film Festival, the film met with an orgy of hate. From the raging cries of the public I could make out only “aestheticization of horror.” And when I found myself being threatened and spat at on the podium, I hit upon only a single, banal response. “You cretins,” I said, “that’s what Dante did in his Inferno; it’s what Goya did, and Hieronymus Bosch too.” In my moment of need, without thinking about it, I had called upon the guardian angels who familiarize us with the Absolute and the Sublime.”


–Werner Herzog, “On the Absolute, the Sublime and Ecstatic Truth”

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