This vision is of a human history on the planet coming to an evolutionary and environmental crisis. Herzog’s anger about humanity’s coming catastrophe bleeds into his own frustrations with the layers of representational and logistical apparatus, between him and a direct relation to Antarctica. (…)
However, in the end, the filmmaker’s imprint prevailed. Herzog found his disaster film. Modern Antarctica is feminized, not by traditionally sexed bodies or even by gender. Rather, it is technology and science itself, by coming after the (supposed) direct encounter with the ice of the Heroic Age that has undone Antarctica’s possibilities as a wilderness or ground for reproving human survival.
(Elena Grasberg, “Antarctica as a cultural critique. The Gendered Politics of Scientific Exploration & Climate Change”, 2012)