High-rated movies with very few views. Suggestions are welcome.
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.
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.
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,…
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…
Tan soporífera como bella.
The Turin Horse is kind of the bleak, 1800's dated, philosophical, & somewhat biblical version of Jeanne Dielman. Didn't expect that. It's less of showing a break in sanity; more of a proclamation of "the end". Through the running course of six days plowing through every daily mundane task that envelopes their lives. Humanity hanging on a thread, w/harbingers left and right. Horse dying, well drying up, never ending wind storm, gypsies acting as demons. The mystifying aspect being how they wouldn't leave. There's nothing beyond the hill. Nothing in the town. Nothing anywhere. More content to try and continue their daily tasks as best they can, and seal their fate, rather than test leaving it all behind for a world…
** audio in portuguese @ 37:20**
A film like The Turin Horse makes me feel a little stupid. Perhaps I am just not 'getting' it, as apparently most critics did when they saw the film - presumably, according to the director (still in his 50's) his last. And it's not like I came to this filmmaker ignorant of his craft and style; sitting through all 450 minutes of Satantango was one of the most mysterious, satisfying if strange filmmaking experiences I've ever had, and that was not without its stretches of time without much "going on" as it were in the usual narrative sense.
The idea with The Turin Horse, co-directed by Agnes Hranitzszky, is that Frederich Nietzche saved a horse from being whipped in a…
makes Werkmeister Harmonies look like a lighthearted comedy.
I was making a pizza when I started this movie and when the timer went off I paused the movie while the wife was making a potato.
"Don't want to miss anything!"
my main issues with this one are probably due to my own personal problems with schopenhauer's and most of nietzsche's philosophy, which on top of tarr's lifeless, languid approach to storytelling (that only seems to exacerbates our dissents) become almost unbearable. i truly can't agree with a movie that showcases human relations with such a passionless, limited scope: the father-daughter relationship is incredily bland (though it makes perfect sense for it to be so as it seems tarr doesn't seem to have any sensibility or comprehension of suffering), there is absolutely no relief from the impending doom that haunts the miserable family (caused both by people and nature as a higher power). it's a movie surrounded by anguish, but it…
Have you noticed how long movies nowadays are getting increasingly faster paced? It's very rare that you see a 2 and a half hour-long movie where dialogue goes on for more than 5 minutes and doesn't get interrupted by some sort of twist, revelation or good old fashioned violence, and while this is not necessarily a bad thing, the constant sensory assault sometimes makes me wish for something slower paced and more self contained. So I was pleased when I stumbled across The Turin Horse, an Hungarian arthouse philosophical drama by Bela Tarr, an Hungarian arthouse philosophical director, famous for having written and directed the 7-hour long, watching paint dry in slo mo levels of sluggish pacing, yet still quite…
The top 100 narrative feature films of this current decade with the highest average ratings.
No miniseries, documentaries, short films,…
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…