Un agriculteur rural est contraint de faire face à la mortalité de son fidèle cheval.Un agriculteur rural est contraint de faire face à la mortalité de son fidèle cheval.Un agriculteur rural est contraint de faire face à la mortalité de son fidèle cheval.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 7 victoires et 15 nominations au total
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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.
It's a unique and haunting film, like a filming of a near-wordless play of Beckett, stained with an indelible sadness and regret that our world cannot be saved from darkness. Along with SATANTANGO and WERCKMEISTER HARMONIES, this is another masterpiece from Bela Tarr and his regular band of collaborators.
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.
Le saviez-vous
- AnecdotesThe movie consists of only thirty shots.
- Citations
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.
- ConnexionsReferenced in Paul Schrader on Revisiting Transcendental Style in Film (2017)
Meilleurs choix
- How long is The Turin Horse?Alimenté par Alexa
Détails
- Date de sortie
- Pays d’origine
- Sites officiels
- Langues
- Aussi connu sous le nom de
- The Turin Horse
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Montant brut aux États-Unis et au Canada
- 56 391 $US
- Week-end de sortie aux États-Unis et au Canada
- 9 145 $US
- 12 févr. 2012
- Montant brut mondial
- 162 088 $US
- Durée
- 2h 35min(155 min)
- Couleur
- Mixage
- Rapport de forme
- 1.66 : 1