About the daring adventure of exploring rain forest canopy with a novel flying device-the Jungle Airship. Airship engineer Dr. Graham Dorrington embarks on a trip to the giant Kaieteur ... See full summary »
In the 1950s, an adolescent Werner Herzog was transfixed by a film performance of the young Klaus Kinski. Years later, they would share an apartment where, in an unabated, forty-eight-hour ... See full summary »
An alien narrates the story of his dying planet, his and his people's visits to Earth and Earth's man-made demise, while human astronauts attempt to find an alternate planet for surviving humans to live on.
German-American Dieter Dengler discusses his service as an American naval pilot in the Vietnam War. Dengler also revisits the sites of his capture and eventual escape from the hands of the Vietcong, recreating many events for the camera.
Into the abyss explores a triple murder which occurred in the small Texas City of Conroe in 2001. Michael Perry and Jason Burkett, under the influence of alcohol and drugs, murdered a middle-aged housewife; they then gunned down her stepson and his friend. The film features Conversations with the two inmates and those affected by their crime. Unlike many of the films that deal with crimes, into the abyss isn't concerned with figuring out exactly what happened, but rather serves as an examination of why people - and the state - kill. Written by
Hold still and watch the birds. Once you get up into your life like that, and once you feel good about your life, you do start watching what the birds do. What the doves are doing. Like the hummingbirds. Why are there so many of them.
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End Credits and Incidental Music
(untitled) Composer: Mark Degliantoni.
SEBASTIAN STEINBERG - guitars and contra bass.
LISA GERMANO - violins.
DAVID BYRNE - guitar.
PETER BECK - winds.
COLIN STEVENS - instrument designs.
MARK DEGLIANTONI - keyboards and percussion. See more »
He's taken us into a forgotten cave; alongside bears; to the end of the world; and now Werner Herzog takes us straight into the mind of a madman, in a documentary about what causes people to kill and what society's attitude to such people should be.
Herzog concentrates on just one case, which is more than enough to make his points. Although he doesn't appear on screen, Herzog's voice is important. He dons the role of interviewer, which I believe contributes to the film's power. He asks very precise questions, persists when necessary, but does so in a very innocent, nonchalant way, sometimes even cracking a joke with his subject, who is usually an emotional wreck. And why not? They give more of themselves to someone who they feel is on their side, and we get an insight that is much more accurate than it otherwise could have been.
Michael Perry was a boy when he was convicted of killing a nurse and suspected of killing two youths in 2001. The state of Texas executed him eight days after the film's release. His accomplice to the latter murders, Jason Burkett, received a life sentence. These and other relevant people, such as family members and prison officials, are interviewed to gain a broad range of views on what has always been a difficult political and moral topic.
Documentaries tend to stand back from their topics; Herzog gets right up under their nose. At times I felt he was oblivious to his audience, as though trying to satisfy his own curiosity. And that's why he has always been highly respected: his selfishness is the key to his charity.
All interviews are incredibly moving, not just because almost all involve tears, but because I felt that interviewees had nothing else to reveal and what they did reveal was utterly sincere. This docu-drama uses actual police footage of the crime scenes which, when accompanied by an austere soundtrack, gives the film a sombre, eerie tone.
There's no doubt about it: the crimes were heinous. Both Perry and Burkett blamed each other. Both denied involvement. What's clear is that the crimes were unprovoked and victims perished needlessly. (We're led to believe that people were murdered for the sake of a red sports car.)
Although Herzog states unequivocally that he is anti-capital punishment ('I don't think human beings should be executed. Simple as that'), he never proselytises. He produces an equal account of the merits and pitfalls of state-sponsored execution and, like any objective filmmaker, allows his audience the final say.
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