Exoticalot People are voting emotionally.

Afouotos Although it has its amusing moments, in eneral the plot does not convince.

Glucedee It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

Plustown A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

Rodrigo Amaro At first, "Where The Green Ants Dream" sounds like something really interesting and very intriguing. While in there, the ultimate worthy value is of its entertainment purpose, since the artistic merits of it are quite simplistic. It is what it can be and no more than that. It's a good film, and can only be that. Great doesn't fit such unnecessary project empty of ideas.The movie deals with a strange impasse between a mineral company which wants to explore an aborigine land, and the proclaimers of such land, the native who claim the company will destroy their land and will disturb the sleep and dreams of some green ants who inhabit there, and those ants contain to power to destroy the whole world, if they were to be destroyed. Trying to settle down the issue is a company man (Bruce Spence) who each day goes by seems more inclined in protecting the aborigine and their traditions. Money and other offers are made to them but they refuse all of them...until the day they see an airplane and they want it. A trade seems to be made. Only seems cause the natives don't sign any paper and still refuse the exploration of the land.That kind of subject was covered in plenty of films, and better ones. Like "Lemon Tree" where a simple tree stands on the way between the Israel/Palestine conflicts. And real life has thousands of stories like this happening, about land expropriation in exchange of profit. The more "Where the Green Ants Dream" unfolds the more it becomes unnatural, forced and devoided of any kind of necessity to exist. Why must we see this? Well, what drags most viewers to this is the name of Werner Herzog behind the credits, an important director, indeed, but very little of his greatness is present in this project. The story goes up and down, our interest goes on and off from time to time mainly because of its characters, who should be sympathetic as they are in other movies, instead they're quite annoying, simple-minded, I couldn't care about anyone in here. I couldn't be on the company side and neither on the natives side. The latter was more of a case that I felt they weren't being real, they were inventing that ants story. It baffles me why the story haven't turned into more obscure and dangerous results. No, instead we have the plane being hijacked by a native who keeps singing "My baby does the hanky panky". Herzog wasn't tasteless with this film, he just didn't make this a more vital and relevant piece to the audience. 6/10

Cosmoeticadotcom There are three distinct styles of German director Werner Herzog's films. There are his great, deep, and memorable fictive films- such as Aguirre: The Wrath Of God, The Enigma Of Kaspar Hauser, and Fitzcarraldo, there are his smaller evocative documentary-like films- such as Fata Morgana, Little Dieter Needs To Fly, and Grizzly Man, and then there are his unclassifiable films- such as Even Dwarfs Started Small, Heart Of Glass, and 1984's Where The Green Ants Dream (Wo Die Grünen Ameisen Traümen). Whereas Even Dwarfs Started Small is an enigmatic study on Fascism that is beyond evaluation on a normal scale, and Heart Of Glass was filmed with its actors hypnotized, Where The Green Ants Dream is an odd concoction that mixes all three of Herzog's styles, along with the excellent cinematography of Jorg Schmidt-Reitwein, in its 95 minute running time.Where The Green Ants Dream is not Herzog at his greatest, but it is an interesting and good little film that rises above the contemporary condescending approach to Natives, and compels anyone who starts watching it to finish watching it. Just compare it to the ongoing American obsessions with Noble Savage Native Americans and Mystical Negroes, and the difference is clear. In the commentary, Herzog even laments that this film is too preachy at times, in scenes with both the Elders and the small minded Arnold, and how his own personal disagreement with the Green parties around the world are due to their lack of empathy for humans, while praising nature at all costs. It is especially noteworthy to compare this film to the work of Native American director Chris Eyre, who made Smoke Signals and Skins, for one can see numerous areas where the younger director could learn much from a Master like Herzog, who, even when not in top form, can create compelling art that lasts, even if in ways as odd as his subject matter.

lblarson1 I really liked this movie. I liked the respect that was offered and given by both the native demonstrators and the geologist. This film prompted thought, thought about what is valued when death approaches, whether that is seen as death of an individual or a people. The mining company stands on the foundation of its legal right to proceed with what the contemporary civilization values, and some scoff the values of the natives. But if we listen we hear that is something we all must address when asking of ourselves what is sacred and will we protect and defend that in the face of our own extinction, because clearly the law is not designed to protect the sacred, but to settle a dispute. We are an amalgam of the characters, the native voice that seeks self perpetuation of tribe and story, the company voice that works for progress and acquisition of wealth, the mediator and thinker voice that comes through the geologist, and the law which strives of order in chaos. These tensions of the human condition, are made so vivid in the land and skies of the Australian outback.

tataglia I also remember this film as life-changing. I saw it at the TIFF many years ago and was baffled by it. There is a small scene in an elevator that I remember as a transcendent cinematic moment. Like so many of Herzog's films, it is deeply moving for reasons that aren't easy to put your finger on - often with Herzog it's an odd juxtaposition, an awkward silence, a strange edit, an inappropriate flash of humour or horror that produce a flash of insight. This film, at the time, seemed conventional by Herzog's standards, but I still left the theatre feeling slightly drugged, always a good sign.