Werner Herzog is a filmmaker who seems to live on the edge of the extreme. His films, whether documentaries or fiction, reflect a fascination with the unusual and the daring—a world in which the individual confronts chaos and uncertainty with discipline, tenacity, and a peculiar joy in danger. It is not just about physical adventures, but an existential quest that challenges reality and perception. His most recent work, Ghost Elephants, is a clear example of this constant in his filmography: the encounter between the real and the mythical, between science and the spiritual, between a man and a dream that transcends logic.

The documentary follows Steve Boyes, a South African conservationist, in his quest to find a species of elephant whose existence is presumed extraordinary, but whose tangible evidence is limited to a single mummified specimen in the National Museum of Natural History in Washington, known as “Henry.” This elephant, which exceeded the size of any known elephant by a third, represents for Boyes a mystery that combines science, myth, and historical memory. For the indigenous peoples of the region, the elephant embodies a direct connection to the origins of human life, a spirit that guides and preserves ancestral understanding of the world.

From the very first minutes, Herzog emphasizes the spiritual dimension of this quest. The journey is not merely a scientific expedition but a ritual, a challenge to the unknown world comparable to the obsessive pursuit of the white whale in Moby-Dick. Herzog’s camera follows Boyes as he prepares with the most experienced trackers of the Ju/’Hoansi San Bushmen of the Kalahari, one of humanity’s oldest cultures. Night rituals, meditations, and ceremonies are depicted with respect and a certain ironic reverence: Herzog can comment with dry humor on everyday scenes, such as an elder tuning his instrument surrounded by chickens, saying, “It cannot get better than this,” while the viewer senses the solemnity of a profound cultural moment.

Boyes’ journey becomes an extreme physical and psychological challenge. From Namibia to the remote highlands of Angola, crossing rivers, plains, and nearly untouched landscapes, the team faces obstacles reminiscent of Herzog’s most daring expeditions in his career. The involvement of the Luchazi, an Angolan tribe with profound knowledge of the Okavango ecosystem, provides a unique context: every step is infused with respect for the land, the animals, and a tradition that feels almost mythical. Herzog himself, remaining in Nigeria to direct the filming, observes and comments, crafting his characteristic narration—a mix of irony, wonder, and philosophical gravity.

Ghost Elephants does not shy away from the shadows of history. Herzog incorporates striking archival footage, from aerial hunts that resulted in the deaths of countless elephants to photographs of Josef Fénykövi, Henry’s hunter, alongside the animal’s corpse. In these moments, Herzog’s voice underscores human brutality and the prevalence of chaos and violence in the natural world. His phrase, “I think the common denominator of the universe is not harmony but chaos, hostility, and murder,” resonates strongly when recalling the history of hunting and war in Angola. Yet the camera also lingers on the poetry of life: elephants playing underwater, creatures that seem to float and radiate an unattainable beauty—a counterpoint to the violence inflicted by humans.

As the expedition progresses, the film focuses both on challenges and moments of wonder. Boyes documents what he can, even with his phone, capturing brief glimpses of the elephants he seeks. Herzog remains sober and reflective: Boyes’ success, even if partial, is enough for the spirit of the mission. The director’s true fascination lies in the quest itself: the dedication, passion, and commitment to the impossible. Finding the elephant is not the most important thing; understanding the magnitude of the human endeavor in the face of the unknown is the real reward.

The film also plays with the tension between conventional scientific documentary and mystical exploration. Although funded by a traditional institution and produced in the style of nature documentaries, the heart of Ghost Elephants beats to Herzog’s rhythm: it centers on dreams, on the stubborn pursuit of the intangible, on the capacity to marvel at the unknown. Wide shots of the landscapes, detailed footage of the trackers, and close-up shots of Boyes create a tapestry that blends reality, myth, and visual poetry, reinforcing the idea that humanity continues to learn, explore, and dream with every step.

Ghost Elephants confirms that Herzog remains a witness to human and natural limits, someone who cares as much for those pursuing the impossible as for that which remains beyond our reach. The film is a tribute to perseverance, respect for the ancestral, and the unwavering fascination with the mysteries that surround us.