Werner Herzog’s Nihilist Penguin

In this clip from my favorite Werner Herzog film, Encounters at the End of the World, the director muses about the mental health of penguins and observes a lone penguin heading in the wrong direction. From an appreciation of this penguin scene written by Tim Cooke for Little White Lies:

Herzog proceeds to explain that the penguin will not go to the feeding grounds at the edge of the ice, nor will he return to the colony; instead he heads straight for the mountains, “some 70 kilometres away”. Catching him and bringing him back will make no difference — he’ll simply turn around and head again for the interior. “But why?” Herzog asks. We then see footage of another of these “deranged” penguins, 80 kilometres off course, sliding on its belly towards certain death. These shots of the solitary birds marching to their demise, mere black dots against the white expanse, are perfect in their portrayal of loneliness and desolation.

The scene, then, is a splendid tragicomedy, serving as a sour antidote to the fluffy charm of films like the The March of the Penguins, which arrived two years earlier. It’s a play within a play; masterfully constructed, it delivers a hefty emotional blow. It’s in this construction, and self-reflexive style, that truth and revelation can be found — Herzog’s ecstatic truth, that is. The natural world, as we learnt from the horrors of Grizzly Man, is not easily compared with ours. The structures we adopt for our stories — be they tragic, romantic or comedic — do not fit nature quite so tightly, and Herzog knows this. Any facts about the penguins’ motivations and thought processes remain unobtainable. We view the narrative as the filmmaker builds it: through an exclusively human lens.

• Antarctica
• Encounters at the End of the World
• movies
• penguins
• video
• Werner Herzog