Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
The Turin Horse
1889. German philosopher Friedrich Nietzsche witnessed the whipping of a horse while traveling in Turin, Italy. He tossed his arms around the horse's neck to protect it then collapsed to the ground. In less than one month, Nietzsche would be diagnosed with a serious mental illness that would make him bed-ridden and speechless for the next eleven years until his death. But whatever did happen to the horse? This film, which is Tarr's last, follows up this question in a fictionalized story of what occurred. The man who whipped the horse is a rural farmer who makes his living taking on carting jobs into the city with his horse-drawn cart. The horse is old and in very poor health, but does its best to obey its master's commands. The farmer and his daughter must come to the understanding that it will be unable to go on sustaining their livelihoods. The dying of the horse is the foundation of this tragic tale.
The wind blows.
We watch a moving world. We do not move ourselves.
We are Pygmalion in reverse. Our daily routine is the chisel, turning us to stone.
We wait. We ignore. We transform.
The wind blows.
It sucks our breath, it drowns our words.
Actions speak louder. Actions can match the wind.
Nature versus routine. An eternal battle to wear away our stone facade.
Both with the same goal, reward, curse. Stone or dust.
Winner signaled by brief panic, then stone or dust.
The wind blows.
I'd like to place a reservation on my rating for The Turin Horse for now. Béla Tarr is a director I've long been wanting to experience,…
Me: So Mr. Tarr, what exactly is your film The Turin Horse about?
Bela Tarr: Ze film is about ze futility and meaninglessness of life. Man is but animal, a beast of burden meant to be suffering, and zen die. Zayr is no God. Zayr is no after life. Happiness is nozthing.
Bela Tarr drops the mic and exits stage left leaving the audience perplexed and stunned. There is no letting up from an auteur with such a determined vision, looking at the drudgery of life's routine also proving to be a fitting curtain call to his career.
He imagines what happened to a beaten horse said to have influenced the depression that led to Nietzsche's death. The dense atmosphere of the film links itself to the weighty existential musings of the philosopher creating a far reaching parable. God Is Dead in this ferociously angry land where the sun never shines and the wind batters through the soul.
It is a beautiful film to look at offering no hiding place for the…
This is a film of the elements.
Between the constant wind, the need for water, the dirt and mud, and the light of small, flickering flames, this film is the sum total of reality. In the midst of all of these is the aether, the fifth element that controls movement and light. In this case, the aether is the camera, which moves fluidly about our sparse subjects and observes, yet also commands their fates in a metatextual way. The aether is Tarr's storytelling.
The wind is the uncontrollable power that sweeps away everything. It is the horse's refusal to work and the inevitability of the end. It is constant, grating, and brutal, and it drives those who attempt to move…
This is one of those cases where my rating is for the merits of the film and not my preferences. As beautiful as this film is, I could only recommend it to those who are particularly interested in seeing the daily routines and harshness of 19th Century country living, or to serious fans of Tarkovskiy, who are used to slow long shots where not much happens on the screen.
The Turin Horse.
It is gorgeous. Every shot is one of the most beautiful photographs you will ever see.
It sounds beautiful. The score and the harsh wind are almost indistinguishable, both playing the same melody.
The art direction is perfect. Every single dented pot, every crack in the wall, every…
More an experience than a film, Béla Tarr's The Turin Horse is one of the bleakest and most depressing pieces of art I have ever encountered. And at the same time it is one of the most beautiful things I have ever seen.
Tarr's film builds on a thought, a musing (taken from the film's synopsis): 1889. German philosopher Friedrich Nietzsche witnessed the whipping of a horse while traveling in Turin, Italy. He tossed his arms around the horse's neck to protect it then collapsed to the ground. In less than one month, Nietzsche would be diagnosed with a serious mental illness that would make him bed-ridden and speechless for the next eleven years until his death. But whatever did…
Sculpting in time,poem of the wind. The Turin Horse(2011) is an achievement in language of cinema. Our existence is the greatest cinema and perhaps the finest and simultaneously the unbearable one.
Like other remarkable Bella Tarr film almost nothing happens in comparison with some other film, but that's the beauty of his films. His world are full of stark dry landscape,wind,elements of nature, dust,basic daily routine,instictive cruelty,philosophical monologue and obviously of time and space. His long takes are not cliche, they are natural and amusing like ancient cave painting.
The Turin Horse is not a mere entertain nor a philosophical brag. It is a challenge to our soul and EXISTENCE.
Watching this in a triple feature with "Winter Sleep" and "Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles" was the best filmgoing experience I've ever had at home. Please try it some time if you suddenly have 9 hours to spend. 10/10.
This review reportedly contains spoilers. I can handle the truth.
Il cinema delle arti è la più costrittiva. Per carità di Dio, oggi i film si possono interrompere, e anche ieri si poteva uscire a mezzo dalla sala indignati. Il cavallo di Torino ci costringe a vedere e rivedere ogni gesto per 5 volte. Dire che richieda pazienza è una mezza bugia. Serve pazienza, nel senso schietto: rivedere per 2 ore mezza le stesse azioni richiede pazienza. Ma non è vero che il significato del film resti oscuro. L'Apocalisse è presente, i riferimenti a Nietzsche sono dichiarati dall'inizio, e a fugare ogni dubbio e perplessità ideologica giunge il monologo - l'unico - del personaggio Ospite. La domanda è se per mostrare l'annoiato ripetersi e quindi spegnersi dell'esistenza serva davvero mostrare…
Very good but I felt like one of the people at Pee-wee Herman's basement meeting.
Er bleibt immer noch zu lang, aber grandios, niederschmetternd und ohne Gefangene. Das Pferd bleibt, als "Bartleby"-Figur, der Rest ist Schwarz-Weiß, bei dem nur die weißen Töne stören.
真的有人这么拍电影_(:з」∠)_是是是长镜头好牛逼我们懂了。。。最好笑的是路人甲说了一堆人生哲理，老头说“你就扯吧”…我没觉得有多闷，就是觉得我虽然书读得少，但你也不能这么欺负我啊Σ(っ °Д °;)っ
Everytime I watch this film I am reminded suddendly how much I adore it and director Bela Tarr as a whole. Few films are able to have my complete undivided attention, and despite this film not having the greatest subject matter I can't stop looking at it whenever I watch it.
Tarr's swan song is mainly about the end of the world, and humans occupying a world that is dying, but unlike blockbuster action films this film shows a more realistic version of what the apocalypse looks like. The use of black and white is brilliant here I think it highlights the utter despair, and godlessness of this world. The acting isn't really noteable and the characters aren't fleshed out…
Is difficult to watch this film and not get affected by the emotions Béla Tarr expresses. If art is to communicate feelings and thoughts, this is a masterpiece. In the two hours of film, I counted like 10 minutes of dialogue. Its purely visual narrative is perfect, guided by a waltz with the camera. Obviously, photography is amazing. Although it sounds weird I can say that the horse in the film is one of the most astonishing performances I ever seen. WTF? Yes, if you watch Turin Horse you will notice Bela’s way of moving the camera and how he can make a Horse win a best performance prize. Suitable for watching it on a rainy day.
Self-conscious art that is never more than a step away from the ridiculous and never less than completely compelling. A father and a daughter occupy a house on a very windswept part of the Hungarian plain. Literally and metaphorically the lights are going out. Probably for all of humanity.