Herzog's use of cinema defies the very fabric of our known world.

Herzog remains a one-off in German cinema - eccentric, infuriating, cherishable - and nothing in this will detract from his legend.

An unlikely combination, but then Herzog never ceases to surprise and here, despite some dull patches, does so with an off-centre film of an almost dreamlike quality.

It’s a long, strange trip, alternately banal and visionary.

This is just further proof that Herzog can make a film about anything, and indeed, from anything.

It’s not helped by a watery soundtrack that sounds like chill-out trance played on a nose flute.

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Despite the film's playful humour, there's also a deadly seriousness to The Wild Blue Yonder, for it shows man's insignificance faced with the sheer vastness of nature.

Sci-fi nuts, stoners and conspiracy theorists might get a kick out of this. But even Herzog fans will find this mix of found footage and Kinski-lite diatribe as frustrating as it's fascinating.

A scientific context is offered by interviews with researchers expounding modes of intergalactic travel, but the real pleasures are in the organic beauty of deep spaces and the ambiguous position of the humans suspended in them.