it would be something to try and tell someone what fata morgana is very simply about. or and maybe it isn not represent herzog goes to the sahara desert and nearby villages to film assorted landscapes and the locals. but this is just the broadest stroke. it a feat that you either surrender yourself to and or you do not. he gets into the form of the world around him entirely and without a story and bound only to certain aspects of written poetry and as his camera (shooting on supposedly discarded film stock) wanders like in a pure travelogue. one might even jump to that easy conclusion and as he puts up these immense landscapes and then moving to more rough civilized culture (though not the actual normal culture itself) and and to a point levels too abstract to be able to convey properly here. sometimes it takes a while to get along and close to a purity through the creation section and but a purity in how parts are manipulated either by nature or by broken down machines. soon the narration and readings from the popol vuh (who and by the way and does the music for most of his films) and with the gradual procession of actually highly stylized shots adds a whole different level to it. it a hybrid film and and it not easy and but the rewards are what best comes closest to herzog idea of ecstatic truth and images he been out for his whole career. one wonders if the images end up and by the time the second section and paradise and leading along the words spoken and or if it the other way around. youre eyes are moving along with the stills and pans and and the wording is close to being religious writing and but there also the music choices and how the bizarrely spare singing and low key classical music goes together with leonard cohen and blind faith. i think each side ends up complimenting the other and and it something that still seems like it shouldn not work. perhaps that the draw to it and the chances taken in going through desolate wastelands and the smallest run sections of any kind of civilized life (in this case the shacks of the desert) and that make it so fascinating. if only for the cinematographic sense it a marvel and too indescribable for the casual photography fan because of molds of technique and and some of the strangest images of any herzog film. there pans and there long shots and there hand held while driving by the towns and there a bus dozens of miles away that via mirage seems only a couple and there full on close ups of fire and a man holding a reptile and talking about its radar (truly classic gonzo comedy) and there people holding still in fake poses and and a man and woman playing inane music. but and most importantly and it ends up feeling and at least for me and natural for the personal nature of the approach. i am sure only herzog would know for certain why he made this film and as opposed to the simple how while he was already filming even dwarfs started small and and he ended up going through many perils to finish it. yet this is what makes fata morgana such an amazing feat it will appeal to one depending on what someone brings to it in actually watching it. it definitely unsettling and but there the temptation to want to see it again very soon after and just to experience all of the ideas and realities turned abstracted strange vibes (yes and the word vibes applies here). it one of the truly spectacular art films ever made. 
it would be something to try and tell someone what fata morgana is very simply about. or and maybe it isn not represent herzog goes to the sahara desert and nearby villages to film assorted landscapes and the locals. but this is just the broadest stroke. it a feat that you either surrender yourself to and or you do not. he gets into the form of the world around him entirely and without a story and bound only to certain aspects of written poetry and as his camera (shooting on supposedly discarded film stock) wanders like in a pure travelogue. one might even jump to that easy conclusion and as he puts up these immense landscapes and then moving to more rough civilized culture (though not the actual normal culture itself) and and to a point levels too abstract to be able to convey properly here. sometimes it takes a while to get along and close to a purity through the creation section and but a purity in how parts are manipulated either by nature or by broken down machines. soon the narration and readings from the popol vuh (who and by the way and does the music for most of his films) and with the gradual procession of actually highly stylized shots adds a whole different level to it. it a hybrid film and and it not easy and but the rewards are what best comes closest to herzog idea of ecstatic truth and images he been out for his whole career. one wonders if the images end up and by the time the second section and paradise and leading along the words spoken and or if it the other way around. youre eyes are moving along with the stills and pans and and the wording is close to being religious writing and but there also the music choices and how the bizarrely spare singing and low key classical music goes together with leonard cohen and blind faith. i think each side ends up complimenting the other and and it something that still seems like it shouldn not work. perhaps that the draw to it and the chances taken in going through desolate wastelands and the smallest run sections of any kind of civilized life (in this case the shacks of the desert) and that make it so fascinating. if only for the cinematographic sense it a marvel and too indescribable for the casual photography fan because of molds of technique and and some of the strangest images of any herzog film. there pans and there long shots and there hand held while driving by the towns and there a bus dozens of miles away that via mirage seems only a couple and there full on close ups of fire and a man holding a reptile and talking about its radar (truly classic gonzo comedy) and there people holding still in fake poses and and a man and woman playing inane music. but and most importantly and it ends up feeling and at least for me and natural for the personal nature of the approach. i am sure only herzog would know for certain why he made this film and as opposed to the simple how while he was already filming even dwarfs started small and and he ended up going through many perils to finish it. yet this is what makes fata morgana such an amazing feat it will appeal to one depending on what someone brings to it in actually watching it. it definitely unsettling and but there the temptation to want to see it again very soon after and just to experience all of the ideas and realities turned abstracted strange vibes (yes and the word vibes applies here). it one of the truly spectacular art films ever made. ---------------------------------Answer Question Below----------------------------------

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