Werner Herzog is known for pushing boundaries in his films. He has gone to the extreme ends of the earth and walked alongside a madman dragging a Spanish galleon over the mountains to create unique cinema. Salt and Fire is in itself a film about extremes: Extreme environmental conditions, and extremists who kidnap scientists who come to study these conditions.
As a man-made ecological disaster unfolds in a South American nation, three scientists from the United Nations embark on a journey to discover the extent and causes of the disaster, only to be kidnapped by armed men and held hostage. What unfolds from here is a swirling tale which flirts with surrealism and science fiction. At times this felt Kafkaesque to me, as the kidnappers refuse to answer the simplest of questions and respond with non-sequiteurs. This flirtation with fantasy had me wondering what was to come... and a visit from aliens seemed the most likely scenario.
Perhaps this feeling of unreality I was experiencing was cognitive dissonance, driven by the appearance of cosmologist Laurence Krauss on screen. This is his first turn as an actor and I suppose he must be on sabbatical from the University of Arizona to be appearing in films where he isn't explaining the universe for us. He does tell us a bit about the major non-human player in the film, the "Salar de Uyuni", a salt lake high in the Andes which is world's largest flat surface. "Satellites use it to calibrate their distance from the ground," he says.
As head of the UN envoy Professor Laura Sommerfeld (Veronica Ferres) and head kidnapper Matt Riley (Micahel Shannon) drive out onto the salt, we learn it is expanding at 800 square miles per year, as the nearby dormant volcano threatens to become active and destroy life on earth as we know it. But it is here the story begins to unfold, and Riley's plans as a kidnapper are revealed. You'll have to see for yourself whether or not aliens turn up.
Herzog films can be challenging, and judging by some other reviews there are people who clearly hated this film. I did not. While the ending is a bit unsatisfying, overall the originality of the story kept me interested. Like most of his films, this is more of an experience than a story; but the story is there. When someone is kidnapped, we expect it to be a life changing experience, and that is exactly what Sommerfeld withstands as the film unfolds; however it is not in a way which we expect.
This is definitely a film for Herzog fans, with his trademark use of astonishing scenery and sparse dialogue coming together to create something we've never seen before. There are some interesting scenes using a single camera, such as one within a moving vehicle panning around from the back seat to the front to reveal the vast emptiness of the salt lake. The contrast between the verdant gardens of the compound where the hostages are held and the sea of desolation is juxtaposed by the types of prisons these two environments represent. And within all this is a visit to the train cemetery where pre-WWII trains used and abandoned by a long extinct mining industry rust and rot, a typically extraordinary location common to Herzog's films.
This is not Herzog's best film, but is certainly enjoyable and vastly more original than the majority of films released in 2016.
As a man-made ecological disaster unfolds in a South American nation, three scientists from the United Nations embark on a journey to discover the extent and causes of the disaster, only to be kidnapped by armed men and held hostage. What unfolds from here is a swirling tale which flirts with surrealism and science fiction. At times this felt Kafkaesque to me, as the kidnappers refuse to answer the simplest of questions and respond with non-sequiteurs. This flirtation with fantasy had me wondering what was to come... and a visit from aliens seemed the most likely scenario.
Perhaps this feeling of unreality I was experiencing was cognitive dissonance, driven by the appearance of cosmologist Laurence Krauss on screen. This is his first turn as an actor and I suppose he must be on sabbatical from the University of Arizona to be appearing in films where he isn't explaining the universe for us. He does tell us a bit about the major non-human player in the film, the "Salar de Uyuni", a salt lake high in the Andes which is world's largest flat surface. "Satellites use it to calibrate their distance from the ground," he says.
As head of the UN envoy Professor Laura Sommerfeld (Veronica Ferres) and head kidnapper Matt Riley (Micahel Shannon) drive out onto the salt, we learn it is expanding at 800 square miles per year, as the nearby dormant volcano threatens to become active and destroy life on earth as we know it. But it is here the story begins to unfold, and Riley's plans as a kidnapper are revealed. You'll have to see for yourself whether or not aliens turn up.
Herzog films can be challenging, and judging by some other reviews there are people who clearly hated this film. I did not. While the ending is a bit unsatisfying, overall the originality of the story kept me interested. Like most of his films, this is more of an experience than a story; but the story is there. When someone is kidnapped, we expect it to be a life changing experience, and that is exactly what Sommerfeld withstands as the film unfolds; however it is not in a way which we expect.
This is definitely a film for Herzog fans, with his trademark use of astonishing scenery and sparse dialogue coming together to create something we've never seen before. There are some interesting scenes using a single camera, such as one within a moving vehicle panning around from the back seat to the front to reveal the vast emptiness of the salt lake. The contrast between the verdant gardens of the compound where the hostages are held and the sea of desolation is juxtaposed by the types of prisons these two environments represent. And within all this is a visit to the train cemetery where pre-WWII trains used and abandoned by a long extinct mining industry rust and rot, a typically extraordinary location common to Herzog's films.
This is not Herzog's best film, but is certainly enjoyable and vastly more original than the majority of films released in 2016.