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Das Turiner Pferd

Originaltitel: A torinói ló
  • 2011
  • 0
  • 2 Std. 35 Min.
IMDb-BEWERTUNG
7,7/10
20.336
IHRE BEWERTUNG
Das Turiner Pferd (2011)
A rural farmer is forced to confront the mortality of his faithful horse.
trailer wiedergeben2:36
1 Video
61 Fotos
Psychological DramaTragedyDrama

Ein Bauer muss sich mit der Sterblichkeit seines treuen Pferdes auseinandersetzen.Ein Bauer muss sich mit der Sterblichkeit seines treuen Pferdes auseinandersetzen.Ein Bauer muss sich mit der Sterblichkeit seines treuen Pferdes auseinandersetzen.

  • Regie
    • Béla Tarr
    • Ágnes Hranitzky
  • Drehbuch
    • László Krasznahorkai
    • Béla Tarr
  • Hauptbesetzung
    • János Derzsi
    • Erika Bók
    • Mihály Kormos
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,7/10
    20.336
    IHRE BEWERTUNG
    • Regie
      • Béla Tarr
      • Ágnes Hranitzky
    • Drehbuch
      • László Krasznahorkai
      • Béla Tarr
    • Hauptbesetzung
      • János Derzsi
      • Erika Bók
      • Mihály Kormos
    • 99Benutzerrezensionen
    • 182Kritische Rezensionen
    • 80Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 7 Gewinne & 15 Nominierungen insgesamt

    Videos1

    U.S. Version
    Trailer 2:36
    U.S. Version

    Fotos61

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    Topbesetzung5

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    János Derzsi
    János Derzsi
    • Ohlsdorfer
    Erika Bók
    Erika Bók
    • Ohlsdorfer's daughter
    Mihály Kormos
    Mihály Kormos
    • Bernhard
    Ricsi
    • Horse
    Mihály Ráday
    • Narrator
    • (Synchronisation)
    • Regie
      • Béla Tarr
      • Ágnes Hranitzky
    • Drehbuch
      • László Krasznahorkai
      • Béla Tarr
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen99

    7,720.3K
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    Empfohlene Bewertungen

    7oOgiandujaOo_and_Eddy_Merckx

    Highly oblique existentialist parable

    Tarr's self-proclaimed last film is as open to interpretation as any movie ever was. The film follows a man, his daughter, and their horse as they struggle to survive during hard times in the late nineteenth century. It's a simple, practically minimalist movie with all the repetition that aesthetic implies, gradually coming to a crescendo that's somewhat reminiscent on a small scale of the disharmony the develops in a previous film, Werckmeister Harmonies.

    The idea for the movie came from an apocryphal story (Tarr doesn't label it as such) about Nietzsche's time in Turin, which relates how the philosopher broke down upon witnessing a carriage driver whip his horse. The filmmakers were interested to look at what happened next for the horse. They also see the incident as representing a sincere recantation of all his works by the philosopher (or heavily imply so). One can apprehend from listening to Tarr that he believes Nietzsche was little more than a psychotic, responsible for promulgating a decline in values. The film depicts such a decline, though any actual link to Nietzsche other than by free association and any substantive intellectual link to the Turin episode are tenuous at best.

    Tarr announced in the Q&A following the UK Premiere of Turin Horse at the Edinburgh International Film Festvial, that he felt "something's wrong", in a grand sense. The Turin Horse reflects this concern. What exactly is wrong is left almost entirely up to you as the viewer to determine. There's one clear allusion to watching television, but other than that the symptomatology and etiology of modern malaise is open to question. You could say that was a weakness of the movie, someone who believes that free migration and rights for gays are the cause for societal decay, would be equally at home watching this movie as someone who points towards revolutions in social media and the society of spectacle.

    Patricularly given that no root cause is identified, Tarr and co leave themselves open to charges of the familiar canard of archaism - supposing that the past was a safer more moral and ingenious place. The artist Jeff Koons has perhaps the best counterarguments to Tarr's perspective on modern life. His stated mission is to "remove bourgeois guilt and shame in responding to banality" (highlighting the snobbery of those who cling to traditional values), whereas Tarr's is perhaps to stoke it. I suppose what side you take depends on whether you see someone fragging on a PlayStation and think "good for them", or whether you bemoan their lack of appetite for self-improvement or meaningful interaction with others. In the Q&A at the Edinburgh Film Festival Tarr said that he thinks that people spend too much time stuck in front of screens waiting forlornly for something to happen, part of a sort of technological cargo cult if you will.

    On a gut level I felt the film went quickly; although empirically it's well over two hours long, it's definitely mesmerising. I've felt for a time that the best way to appreciate Werckmeister Harmonies is as narrative music, as a kind of prelude and fugue, similarly The Turin Horse works well simply in terms of rhythm and visual tone, as a meaningless sketch of the interaction of three hardy entities.
    10labanchrist-545-334368

    'Visionary Miserablism'

    Girl:What it is Papa? Father:I don't know.. It is my first Bela Tarr movie and I don't think that words can help me to write a review on 'The Turin Horse' and it is my first review. I have been watching movies since my childhood, reading literature and philosophy in order to understand human condition but the visual and sound sensation I have had with 'The Turin Horse' is matchless. There is a modern novel in which a girl commits suicide because she think that she had to brush her teeth everyday with the same brush. Bela Tarr's characters are eating raw potatoes everyday,fortunately they don't commit suicide but what is the point in living? Bela will compel you to think about it. Father: Eat. we have to... To be very honest 'The Turin Horse' is the most powerful work of cinematic art I've ever came across, it is not social but ontological rather cosmological. What it is to be human? Want to know? Go and watch it, the 'heaviness of human existence' to put it in Bela's words.
    9treywillwest

    Two people pretend the world isn't ending.

    Bela Tarr claims this will be his last film, and damn does it have finality written all over it. I guess there's few ways to be more final than to devote a work to the end of humanity. And I've never seen a film that struck me as more authentically apocalyptic than this one. It is immediately strange to say then, that one of the things that most impressed me about this juggernaut is its ultra-sly humor. Tarr really is a nihilist and a misanthrope, at least philosophically. The fall of our silly little species really is funny to him, in the darkest way possible, and in half audible beats he makes it funny for us too. All of the other species have sensed the death of the world and have, reasonably, stopped trying to survive. Only homosapiens, represented by a half-functioning horse-carriage driver and his daughter, are clueless enough to continue their wretched routine in the face of a blatant apocalypse. We, along with Tarr, laugh at, pity, and admire the duo for this all at the same time. This is why I call Tarr a misanthrope in philosophy only. In practice, he has love for his fools, even as he leads them towards annihilation. The film includes many references to cinematic finality as well. Fading lanterns, windows that show a world that is becoming not, opaque, all suggest an abandoned cinema. The empty shell of a cinematic artist imagining his own abandoned corpse.
    9erejones

    A misunderstood - but brilliant - film

    I really liked this film. I didn't like watching this film. Tarr pushes the audience to the limit of their patience but after a while it gets under your skin. You fall into its all-encompassing, hypnotic pattern. It's humanity at its most bare - its most bleak. It is a look into humanity's most raw, pained existence. It emerges you. Philosophically rigourous, Tarr goes to great efforts to make the Nietzsche analogy and whatever you think of Nietzsche, or even if you don't, there's a bitter comedy to the way in which Tarr looks at the human condition here. It laughs in the face of meaning. Yet, paradoxically, it's a film of distinct humanity, as shown to us in the last scene. It won't be for everyone, I know. It's cinema at its most cutting; its most applied.
    10bananasandtomatoes

    A review

    It is very hard to review a film like this.

    It's one of the films that leaves a permanent mark on you. You think about it for days and days, and even after several months or years you remember it, and remember how it made you feel. And it made you feel bad. A feeling of impeding doom.

    One of the films that are so magnificent, but are so hard to watch, that you're never gonna watch it again.

    The ending is so powerful, that I set there as it ended and wept for a while without even knowing why I was weeping.

    In short, it's a story about creating of the world, but in reverse - the destruction of the world through the eyes of two people.

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    Handlung

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    • Wissenswertes
      The movie consists of only thirty shots.
    • Zitate

      Bernhard: Everything's in ruins, everything's been degraded, but I could say that they've ruined and degraded everything, because this is not some kind of cataclysm coming about with so-called "innocent" human aid; on the contrary, it's about man's own judgment over his own self, which of course God has a big hand in, or, dare I say, takes part in, and whatever he takes part in is the most ghastly creation that you can imagine, because, you see, the world has been debased, so it doesn't matter what I say because everything has been debased that they've acquired and since they've acquired everything in a sneaky, underhanded fight, they've debased everything, because whatever they touch, and they touch everything, they've debased; this is the way it was until the final victory, until the triumphant end; acquire, debase, debase, acquire; or I can put it differently if you'd like, to touch, debase and thereby acquire, or touch, acquire and thereby debase; it's been going on like this for centuries, on, on and on; this and only this, sometimes on the sly, sometimes rudely, sometimes gently, sometimes brutally, but it has been going on and on; yet only in one way; like a rat attacks from ambush; because for this perfect victory it was also essential that the other side, that is, everything's that's excellent, great in some way and noble, should not engage in any kind of fight, there shouldn't be any kind of struggle, just the sudden disappearance of one side meaning the disappearing of the excellent, the great, the noble, so that by now the winners who have won by attacking from ambush rule the earth and there isn't a single tiny nook where one can hide something from them because everything they can lay their hands on is theirs, even things that they can't reach but they do reach are also theirs; the heavens are already theirs and theirs are all our dreams; theirs is the moment, nature, infinite silence; even immortality is theirs, you understand?; everything, everything is lost forever, and those many nobles, great and excellent just stood there, if I can put it that way; they stopped at this point and had to understand and had to accept that there is neither God nor gods, and the excellent, the great and the noble had to understand and accept this right from the beginning, but, of course, they were quite incapable of understanding it, they believed it and accepted it but they didn't understand it; they just stood there, bewildered but not resigned until something, that flash on the mind, finally enlightened them, and all at once they realized that there is neither God nor gods; all at once they saw that there is neither good nor bad; then they saw and understood that if this was so then they themselves did not exist either; you see, I reckon this may have been the moment when we can say that they were extinguished, they burnt out; extinguished and burnt out like the fire left to smolder in the meadow; one was the constant loser, the other was the constant victor; defeat, victory, defeat, victory; and one day, here in the neighborhood I had to realize and I did realize that I was mistaken, I was truly mistaken when I thought that there had never been and could never be any kind of change here on earth; because, believe me, I know now that this change has indeed taken place.

    • Verbindungen
      Referenced in Paul Schrader on Revisiting Transcendental Style in Film (2017)

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    Details

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    • Erscheinungsdatum
      • 15. März 2012 (Deutschland)
    • Herkunftsländer
      • Ungarn
      • Frankreich
      • Deutschland
      • Schweiz
      • Vereinigte Staaten
    • Offizielle Standorte
      • Facebook
      • Official site (Japan)
    • Sprachen
      • Ungarisch
      • Deutsch
    • Auch bekannt als
      • Das Pferd von Turin
    • Drehorte
      • Ungarn
    • Produktionsfirmen
      • TT Filmmûhely
      • MPM Film
      • Vega Film
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    Box Office

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    • Bruttoertrag in den USA und Kanada
      • 56.391 $
    • Eröffnungswochenende in den USA und in Kanada
      • 9.145 $
      • 12. Feb. 2012
    • Weltweiter Bruttoertrag
      • 162.088 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      2 Stunden 35 Minuten
    • Farbe
      • Black and White
    • Sound-Mix
      • Dolby Digital
    • Seitenverhältnis
      • 1.66 : 1

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