Werner Herzog wrote a book about the nature of truth titled “The Future of Truth” (De Toekomst van de Waarheid). A concept much abused these days.

To Werner Herzog, truth is a search, a quest, almost one that distinguishes us from the other, more or less intelligent animals. In this concise yet idea-packed book, he examines the truth from several interesting angles, including political, artistic, historical, and scientific perspectives. He interweaves interesting stories in his arguments, like an artist should.

He looks at people who are considered larger-than-life. Contrary to popular belief, self-proclaimed genius (my words) Elon Musk did not invent the electric car. He didn’t found Tesla. He bought that one. And he bought Twitter. With that truth, he aims to facilitate the spreading of lies. (He did found SpaceX, though.)

The word for truth in Ancient Greek is aletheia, the negation of lethe, meaning forgetfulness or oblivion. Alatheia is that which reveals what was hidden. Alatheia is like a film and photography on celluloid. There is something on it, but it has to be revealed and developed.

Art creates a truth, according to Herzog. In opera, music transforms almost the craziest, unthinkable stories into wondrous truths. (Herzog directed several operas.)

Herzog’s film Family Romance tells the story of how, in Japan, actors are hired to replace a father or husband in their real life. Actors stand in for the father of a girl, the broom for a marriage, and an employee receiving a scrubbing. After the movie was released, Japanese broadcaster NHK produced a documentary about the company that hires out these actors, referred to in Herzog’s movie as Family Romance, and about the people who hire its actors. A bizarre double world emerges in this documentary. A client of the ‘Family Romance’ service was interviewed and questioned about why he wanted the actor to take his place in real life. After the documentary was finished, NHK discovered that the client they had interviewed was also an actor who had been hired to replace the original client. The argument was that the actor could portray the client more effectively than the client himself. Because the actor can speak the absolute truth, and the real person could do nothing but lie. Still with me?

In another movie of his, Herzog plays a priest. He meets a stranger and records a confession from this stranger for the film. During the act, he fabricates several facts as a priest, which the confessor greedily accepts, and the confession is more honest and well-meant than it could ever have been in real life. Making the fake confession more truthful than a real one.

Another story unfolds in Russia during the time of Czarina Catherine II. Potemkin villages were villages created as fronts, much like movie sets, to give the Russian czarina the impression of a prosperous country. A staged world similar to the North Korean Peace Village. Or the Truman Show.

In his films, Herzog attributes celebrity quotes that could have been said, but which he fabricated. He believes that this made-up truth is also a truth: an ecstatic, more profound truth.

Another bizarre story is that of a man on death row who continued to believe in his self-made innocence to the end, even though he was guilty, believing his concoctions til the end. This story reminded me of the song “The Mersey Seat” by Nick Cave & The Bad Seeds. In this unsettling song, a condemned man continues to believe in his innocence until just before his execution, but the truth catches up with him.

And in a way I’m yearning
To be done with all this measuring of proof
Of an eye for an eye
And a tooth for a tooth
And anyway I told the truth
And I’m afraid I told a lie

Of course, AI is impossible to ignore, and Herzog explores the fake images it can generate, such as the AI-created photograph that was awarded the top prize at the Sony Photo Awards.

Herzog discusses how we can protect ourselves from being deceived by fakes. He recommends always approaching information with skepticism—assuming it might be false—and diligently verifying the truth behind any claim. He emphasizes that any request to transfer money should be treated as a red flag. In his view, the digital world is inherently unreliable.

According to Herzog, what helps us navigate this uncertainty are three key practices:

• Education
• Reading extensively
• Walking regularly, with minimal distractions or baggage

In the final chapter, Herzog admits that there is no definitive “future of truth.” Instead, the search for truth remains an essential, existential pursuit.

I read the book in its Dutch translation. When I wanted to buy it for a friend in the US, I discovered—somewhat surprisingly—that the English translation is not yet available. It is scheduled for release in September 2025.