‘Werner Herzog: Radical Dreamer’ Review: A Very Linear Look At An Enigmatic And Legendary Figure Of Cinema [Telluride]

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Werner Herzog turned 80 on September 5—the last day of the Telluride Film Festival, his abiding favorite film event, which he’s been attending for decades—and, of course, he has a new film to mark the occasion; you’d expect nothing less. It’s a documentary—he’s made many—and it shows the filmmaker as youthfully curious as ever, as he turns his camera on an impressive array of scientists, doctors, researchers, wealthy executives and the odd lawyer and politician to investigate the status of progress of neurological science. It’s an enormous field of endeavor, one that seems certain to become far bigger than is now is, more central to fundamental ways in which we lead our lives and more knowledgeable about how different species interact with one another. It’s an up-to-date primer on the subject, wider than it is deep, but engaging and illuminating always.

Herzog also teased some of his upcoming projects: in addition to the volcanologist documentary “The Fire Within,” he’s in pre-production on “two or three narrative feature films” and is toying with releasing a book of poetry and returning to acting, “probably as a villain.”Where his own mind is concerned, said Herzog: “I never can catch up with it.”Studio sponsors include GreenSlate, Moët & Chandon, PEX and Vancouver Film School.

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Pat Saperstein Deputy Editor The Telluride Film Festival wrapped on Labor Day, with many of the season’s mystery films getting a first look from critics, journalists and festivalgoers. But what did we learn from the four-day fest? Do we have an Oscar frontrunner? Four narrative films world premiered in the Colorado mountains – “Women Talking” from MGM/UAR, “Empire of Light” from Searchlight Pictures and “Lady Chatterley’s Lover” and “The Wonder” from Netflix. Other Venice titles also made their North American debuts such as Netflix’s “Bardo” and Focus Features’ “Tar.” Here are five things we learned at Telluride.

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TELLURIDE – Venice may be enraptured in gossip-y drama over a film no one will be talking about two months from now (and, clearly, a very frustrating ticketing system), but the 49th edition of the Telluride Film Festival was where the 2023 Oscar season truly kicked off. The annual Colorado set festival certainly has its fair share of world premieres and curated Venice and Cannes titles, but that’s only one reason it has solidified its reputation as an awards season staple.

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When Werner Herzog makes a new documentary, you can always count on one of the most satisfyingly strange occurrences in nonfiction filmmaking: the dulcet Germanic tones of Mr. Herzog making odd connections and going deep into the mystic, even when he’s talking about science.His new doc, “Theater of Thought,” doesn’t contain anything as wonderful as Herzog’s musings on prehistoric radioactive crocodiles in “Cave of Forgotten Dreams” or his dismissal of dogs too stupid to know about geologic history in “Fireball: Visitors From Darker Worlds.” But letting the 80-year-old Herzog loose to explore the human mind is predictably fertile territory, in which serious scientific inquiry must make room for questions like these, posed to various scientists and researchers by our director and interlocutor:“Do fish have souls?”“How stupid is Siri?”“Does a mouse suspend disbelief?”“Could a dying man send a message (through a computer-brain interface) that there is a heaven?”Those questions, for the record, are typically met either by laughter or by variations on “I have absolutely no idea,” but that’s fine with Herzog: His goal isn’t to get answers, it’s to make the exploration as wide-ranging, philosophical and off-the-wall as possible.

Werner Herzog’s “Theater of Thought” may be the most egg-headed documentary to ever open with a quote “ascribed to Chuck Berry.” To wit: “In my Theater of Thought I am rocking. / In the Dance of my Mind, I am swinging.

Addie Morfoot Contributor The Telluride Film Festival’s emphasis on documentary has not wavered in recent years. But the prominence of nonfiction fare at the 49th edition has arguably made this year’s Telluride the autumn Sundance, where some of the biggest buzz is for docs. The lineup, kept under wraps until the eve of the fest’s opening on Sept. 2, includes 16 docs from novice and veteran documentarians, including Steve James (“A Compassionate Spy”), Matthew Heineman (“Retrograde”), Chris Smith (“Sr.”) Ondi Timoner (“Last Flight Home”) and Ryan White (“Good Night Oppy”). (Additional “secret” screenings have yet to be announced.) The rising level of documentaries at the Colorado fest is largely due to the influence of Telluride executive director Julie Huntsinger.

Clayton Davis Telluride Film Festival’s official 2022 lineup has been announced, revealing world premieres of Sam Mendes’ “Empire of Light,” Sarah Polley’s “Women Talking,” Laure de Clermont-Tonnerre’s “Lady Chatterley’s Lover” and Sebastián Lelio’s “The Wonder.” In its 49th year, the festival will pay tribute to two-time Oscar-winner Cate Blanchett, whose new film “TÁR,” from director Todd Field, will debut stateside after premiering at the Venice Film Festival. In addition, the festival will also tribute Academy Award nominee Polley (adapted screenplay for 2006’s “Away from Her”) and acclaimed documentarian Marc Cousins, who has two films dropping at the fest. One is “My Name Is Alfred Hitchcock,” which is based on a fictional monologue between Cousins and the master of suspense. The other is “The March on Rome,” depicting the ascent of fascism in Europe during the 1930s.

Over the past decade, The Telluride Film Festival has made itself something of an Oscar-kingmaker. Numerous Best Picture winners, including “Slumdog Millionaire,” “Argo,” “12 Years A Slave,” and “Moonlight,” each had their world premieres at the picturesque Colorado fest.