The images and characters of Werner Herzog’s cinema have come to inhabit or possess me deeply, and yet their habitation or possession has occurred so fluidly that I suspect they were inside me all along, requiring only to be articulated in the inimitably concrete and idiosyncratic way they are in Herzog’s films. Few other filmmakers have so silently and gently explored the abysses of ecstasy and darkness; few have observed, from such an inscrutable, Olympian remove, the ludicrous and grotesque minutiae of life. For surely Herzog’s conception of the sublimity and ridiculousness of what is called the human condition brings him as close in spirit to the ancient Greeks as it does to that dark and satirical current of Germanic Romanticism represented by Kleist, Hölderlin, or Büchner, and which remains his indelible cultural heritage. Yet through the eye of Herzog’s lens the world is transfixed, rendered hopelessly, exquisitely weightless, ultimately diffusing beyond grasp the solid structures within which tragedy or satire can take root.
via https://medium.com/@alkan/murmurs-from-a-shadowless-land-fragmentary-reflections-on-the-cinema-of-werner-herzog–3bb1b89ecfd2