How Does My Best Fiend End?

2026-01-23 13:04:54 253
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3 Answers

Kayla
Kayla
2026-01-24 09:58:20
If you’ve seen any of Herzog’s films, you know he doesn’t do tidy endings, and 'My Best Fiend' is no exception. The documentary closes with Herzog visiting the set of 'Cobra Verde,' their last collaboration, and it’s eerie how much tension still hangs in the air. Kinski’s unpredictability is palpable, even through the lens of time. The final moments shift to Herzog standing alone in the jungle, almost as if he’s confronting the ghost of their partnership. There’s no grand resolution, just this quiet acknowledgment that some relationships defy easy explanations.

What sticks with me is Herzog’s refusal to vilify or glorify Kinski. He presents him as this impossible, brilliant tornado of a person—someone who could elevate a film to greatness while tearing apart everyone around him. The ending feels like a sigh, a release after decades of creative friction. It’s not satisfying in a conventional way, but it’s deeply human.
Brody
Brody
2026-01-25 04:04:48
The conclusion of 'My Best Fiend' leaves you with a weird mix of admiration and exhaustion. Herzog and Kinski’s dynamic was like a car crash you can’t look away from—volatile, destructive, but weirdly mesmerizing. The film ends with Herzog pondering whether he’d work with Kinski again, and his answer is this resigned 'no,' but you can tell part of him misses the madness. The footage of Kinski’s funeral is especially poignant; Herzog’s voiceover is so subdued, like he’s mourning the loss of an enemy who was also his muse.

It’s not a happy ending, but it’s a fitting one. Their relationship was too complicated for neat closure. Herzog doesn’t pretend to have figured it out—he just lets the contradictions sit there, unresolved. That honesty is what makes the documentary so compelling.
Piper
Piper
2026-01-27 21:09:32
The ending of 'My Best Fiend' is one of those bittersweet moments that lingers long after the credits roll. The film builds up this intense, almost toxic relationship between Werner Herzog and Klaus Kinski, showing how their creative partnership was both destructive and strangely symbiotic. In the final scenes, Herzog reflects on Kinski's death, and there's this haunting sense of loss mixed with relief. It’s as if Herzog is finally free from the chaos Kinski brought into his life, but he also acknowledges the irreplaceable energy Kinski gave to his films. The way Herzog frames it, you can’t help but feel like their rivalry was some kind of twisted artistic necessity.

What really gets me is the archival footage of Kinski’s explosive tantrums juxtaposed with Herzog’s calm, almost melancholic narration. It’s like watching a eulogy for a force of nature. The ending doesn’t try to sugarcoat their relationship—it’s raw and honest, leaving you to grapple with the complexity of creative collaboration. I walked away thinking about how often great art comes from messy, even painful relationships.
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