IMDb > The Turin Horse (2011)
A torinói ló
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The Turin Horse (2011) More at IMDbPro »A torinói ló (original title)

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The Turin Horse -- A rural farmer is forced to confront the mortality of his faithful horse.

Overview

User Rating:
7.7/10   7,629 votes »
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Directors:
Writers:
László Krasznahorkai (screenplay)
Béla Tarr (screenplay)
Contact:
View company contact information for The Turin Horse on IMDbPro.
Release Date:
31 March 2011 (Hungary) See more »
Genre:
Plot:
A rural farmer is forced to confront the mortality of his faithful horse. Full summary » | Add synopsis »
Plot Keywords:
Awards:
7 wins & 11 nominations See more »
User Reviews:
Heavy going perhaps, but a masterpiece See more (41 total) »

Cast

  (in credits order)
János Derzsi ... Ohlsdorfer
Erika Bók ... Ohlsdorfer's daughter
Mihály Kormos ... Bernhard
rest of cast listed alphabetically:
Ricsi ... Horse
Mihály Ráday ... Narrator (voice)

Directed by
Béla Tarr 
Ágnes Hranitzky (co-director)
 
Writing credits
(in alphabetical order)
László Krasznahorkai  screenplay
Béla Tarr  screenplay

Produced by
Martin Hagemann .... producer
Juliette Lepoutre .... producer
Marie-Pierre Macia .... producer
Elizabeth Redleaf .... executive producer
Mike S. Ryan .... executive producer
Gábor Téni .... producer
Ruth Waldburger .... producer
Christine K. Walker .... executive producer
 
Original Music by
Mihály Vig 
 
Cinematography by
Fred Kelemen 
 
Film Editing by
Ágnes Hranitzky 
 
Production Management
Kata Czigler .... unit manager
 
Second Unit Director or Assistant Director
Yann-Eryl Mer .... first assistant director
 
Sound Department
Nick Biscardi .... commentary re-recordist
János Csáki .... sound recordist
Csaba Erös .... sound recordist
Gábor ifj. Erdélyi .... sound mixer
Gábor ifj. Erdélyi .... supervising sound editor
István Pergel .... sound recordist
Drew Weir .... voice recordist
 
Special Effects by
Zoltán Pataki .... special effects technician
 
Camera and Electrical Department
Tilman Büttner .... steadicam operator
Miklós Hajdu .... gaffer
Zsolt Jámbor .... grip
Tamás Jánossa .... "a"camera focus puller
Marcus Pohlus .... steadicam operator
Gábor Szeles .... best boy
 
Editorial Department
Donovan Kosters .... dcp mastering
László Kovács .... colorist
Judit Szép .... film grader
 

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"A torinói ló" - Hungary (original title)
"Nietzsche's Horse" - Japan (English title) (imdb display title)
See more »
Runtime:
146 min
Language:
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

Trivia:
Béla Tarr says that the film is about the "heaviness of human existence".See more »
Quotes:
Bernhard:Theirs is the moment... nature, infinite silence.See more »

FAQ

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49 out of 64 people found the following review useful.
Heavy going perhaps, but a masterpiece, 22 July 2011
Author: Chris_Docker from United Kingdom

How can you make someone see what is staring them in the face?

Tarr is nothing if not serious cinema. It may not move, entertain or give you a thrill to the bottom of your popcorn. But it is also, for many cineastes, a standard by which other art cinema can measured. And if that introduction is overweening, perhaps it will deter anyone even vaguely faintly thinking about popcorn - but encourage serious-minded cinema-goers to consider dropping everything to see this.

Hungarian Grandmaster Bela Tarr uses a technique made famous by Russian director Andrei Tarkovsky – that of incredibly long takes. We are forced to immerse ourselves in real time, to experience the minutiae of existence (and its totality) in the same way the characters do. But in terms of 'suspension of beliefs', Tarr goes one stage further than Tarkovsky. The latter's films were often connected with metaphysics and decorated with religious iconography; whereas Tarr eschews God and religion in favour of the people, in favour of human rights, in favour of righting wrongs, or simply in favour of what is most basic to any individual. At times seen as heavily political, his films are careful to portray only a 'documentarist' style reality. They are films designed to make you think, rather than make you entertained. In this respect, his work preserves a thread from the fierce artistic integrity of Godard - perhaps by way of Fassbinder, who would also at times exemplify a fierce minimalistic style.

In The Turin Horse, Tarr gives us a six-day prelude to an actual event that we never see. Even in those six days, nothing very much happens – yet you could probably write a Masters philosophy dissertation on that 'nothing very much.' The ontological lynchpin of the film is Nietzsche: in terms of storyline and also the dilemmas a viewer might confront.

Our movie begins by informing us of a well-known tale concerning the German philosopher. Nietzsche had caused a public disturbance – apparently by attempting to save a horse being flogged. Immediately afterwards, Nietzsche collapses and succumbs to mental illness. He will remain that way for the rest of his life. Tarr's film is an imagined reconstruction of the days leading up to the incident. It features the ailing horseman, his grown-up daughter, a visitor who provides the film's only monologue, and a brief visit by a band of gypsies. The horseman and his daughter live in the most spartan of conditions trying to survive, surrounded by a harsh and barren landscape. He probably would have rejected Nietzsche's philosophy, the rejection (or death) of God, and the idea of the 'slave-morality' dominating society. Indeed, the horseman dismisses the reflections of the visitor, whose thoughts are perhaps a shadow of Nietzschean ideas, as "rubbish." We can perceive a shift from classical belief to atheism as the ideas move quite politically: 'man is responsible for his own fate, but there is something greater that takes a hand' - yet that 'something' might be nature, rather than 'God' and it seems undeniably demonstrated in the harsh conditions that gradually drive the horseman and his daughter nearer extinction. Or it could, of course, be 'the ruling classes.' But this is not a film where intellectual arguments are expounded or debated. Most of the dialogue, in the rare instances where dialogue occurs, comprises an occasional monosyllable. The film is in black and white, and consists of merely thirty long takes – that would be excruciating were they not mesmerizingly beautiful. Each shot is perfectly composed, right down to the individual hairs on the horseman's Rasputinish beard. (This is one reason why it could not work as well on a small screen – the other being that its impact depends on being a captive audience.) As in The Man from London, Tarr uses environment as main 'characters' – the buildings, the landscape. They are 'major players.' This gives not only a tremendous sense of grandeur and majesty in simple images, but allows Tarr to convey a more cosmic point, even with such a miniscule budget. The characters each form a microcosm, doing what they do (what Man does) in order to survive. We are aware of the oppression and hardship of the plebiscite – oppression we can say is caused by 'conditions', but equally by the ruling classes. Dirge-like music, a daily meal of boiled potatoes eaten without cutlery, and a bleakness from which there is no apparent escape.

On the Second Day, the horse, once hitched, won't move. The daughter expresses some sympathy for its abject refusal. Yet the horse's gradual deterioration (to a point where it is starving itself to death) almost mirrors the plight of its owners. The horseman and daughter struggle against becoming dehumanised: he by fighting, she by gentleness. What does it mean to be human? As the wind whips dust across the landscape, she reads of the "holy places violated."

The downsides of The Turin Horse are that, given its minority-appeal audience, most people will only see it on DVD. The political landscape about which Tarr is so passionate demands extra study in order to be illuminated by the film. Nietzsche declared that art is the proper task of life, that it is not merely an imitation of the reality of nature, but a metaphysical supplement to nature's reality. But can The Turin Horse stand philosophically on its own merits? Some may feel that Tarr has indeed flogged his point to death, and fails to offer any man or super-man to triumph at the end of his inevitable Gotterdammerung.

Constant use of steadicam gives the impression that we are personally observing what happens - even when all motion stops and the last light is extinguished. Susan Sontag once championed Tarr as a saviour of the modern cinema. If she had lived to see this, probably his last film, she surely would probably have felt doubly justified.

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Recent Posts (updated daily)User
100 Things I learned from The Turin Horse... filmficciones
Film think Nietzsche a 'hero' or a 'villain'? chuck-526
Friedrich Nietsche: THE JOYFUL WISDOM, III, 125, 'The Madman' kogaway-2
Imdb Ratings titusbeertsen
Why is this rated so high? lolmail911
they never seem to finish the potato goodf3lla
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