Recently I was contemplating making a list of my favorite scenes in film, but I decided that instead of just…
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…
A gorgeous black and white film that took a while to hook me, but ended up drawing me in, really reminded me of later Tarkovsky films in its pacing, tone, look. It focuses on a father and his adult daughter living life in a secluded farmhouse in a Hungarian valley, does so in extended takes that show the day-to-day of these two, as they eat their daily potato, she dresses him due to his dead arm, they saddle up their horse and so on. The film starts with a voiceover telling of the day Nietzsche was in town, saw someone whipping their horse, he stopped the man, hugged the horse, then didn't speak for the final decade of his life.…
A falta de esperança e a inexistência da fé são características recorrentes na filmografia de Tarr, a pesada existência humana é mais do que evidente em qualquer plano-sequência projetado. A anti-bíblia é o único contato externo social enfatizado. Triste.
I can see why Nietzsche went mad...
Miséria miséria miséria
A relação do poder humano, limitado, com o poder do tempo, que desgasta, corrói e estraga tudo, seca o poço, torna o ar irrespirável e controla os movimentos dos personagens, incapazes de sair da sua casa.
A circularidade do tempo ao longo de 5 dias, sempre as mesmas coisas e elementos, a refeição à base de batatas e sal, o ir buscar a água, o vestir e despir as roupas para pouco.
Um filme que se arrasta, cheio de planos longos e pouco consequentes, tremendamente pesado, com uma banda sonora constituida por um tema que se repete.
the windiest movie I've seen since Twister
Béla Tarr strives to make a pure and simple film, and in that sense he wholly succeeds.
The story's relation to Nietzsche, though of little importance in understanding the themes, provides a glimpse into what is to come. A moment of madness, and then nothing. He sees something that strikes him as so terrible and unforgiving and it eats at him until he descends into something separate from reality. And then he's gone.
The nature of this film is bleak and brutal. The world is an unforgiving place fraught with hardship and pain. Sometimes it can be suffocating, closing in on us until we can't seem to escape from its overwhelming pressure. The only…
Incredibly simple and breathtakingly sad - the very core of human existence, the very world of survival that is not far from the world we know today. Life is pointless.
This review may contain spoilers. I can handle the truth.
Tarr is one of the few directors whose films benefit from their unambiguity. The metamorphosis in our characters is so well weighted and so subtly developed that it not only feels natural, but also extremely correlative with the close-ups and key events that Tarr prioritizes. The most poignant image of this evolution is the potato meal. On the first day, they eat vigorously, paying great heed to the heat of the potatoes. By the last, the girl does not eat - Ohlsdorfer eats lethargically. This evolution is clearly brought on by the futility of their escape, their dying horse, the depletion of the well etc.
Every close-up involved is so crucial in understanding the purpose behind the film and they…
"I know that directors find serious and sensitive audiences for films where people sit around peeling potatoes in the peasant houses – but I can't read that kind of novel either." - Orson Welles
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
The 2015 edition of the They Shoot Pictures, Don't They? 21st Century's Most Acclaimed Films list.
Incomplete data forced the…