[go: up one dir, main page]

    Calendario delle usciteI migliori 250 filmI film più popolariEsplora film per genereCampione d’incassiOrari e bigliettiNotizie sui filmFilm indiani in evidenza
    Cosa c’è in TV e in streamingLe migliori 250 serieLe serie più popolariEsplora serie per genereNotizie TV
    Cosa guardareTrailer più recentiOriginali IMDbPreferiti IMDbIn evidenza su IMDbGuida all'intrattenimento per la famigliaPodcast IMDb
    EmmysSuperheroes GuideSan Diego Comic-ConSummer Watch GuideBest Of 2025 So FarDisability Pride MonthSTARmeter AwardsAwards CentralFestival CentralTutti gli eventi
    Nato oggiCelebrità più popolariNotizie sulle celebrità
    Centro assistenzaZona contributoriSondaggi
Per i professionisti del settore
  • Lingua
  • Completamente supportata
  • English (United States)
    Parzialmente supportata
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Lista Video
Accedi
  • Completamente supportata
  • English (United States)
    Parzialmente supportata
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Usa l'app
  • Il Cast e la Troupe
  • Recensioni degli utenti
  • Quiz
  • Domande frequenti
IMDbPro

Il cavallo di Torino

Titolo originale: A torinói ló
  • 2011
  • T
  • 2h 35min
VALUTAZIONE IMDb
7,7/10
20.354
LA TUA VALUTAZIONE
Il cavallo di Torino (2011)
A rural farmer is forced to confront the mortality of his faithful horse.
Riproduci trailer2: 36
1 video
61 foto
Psychological DramaTragedyDrama

Un contadino è costretto ad affrontare la mortalità del suo fedele cavallo.Un contadino è costretto ad affrontare la mortalità del suo fedele cavallo.Un contadino è costretto ad affrontare la mortalità del suo fedele cavallo.

  • Regia
    • Béla Tarr
    • Ágnes Hranitzky
  • Sceneggiatura
    • László Krasznahorkai
    • Béla Tarr
  • Star
    • János Derzsi
    • Erika Bók
    • Mihály Kormos
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,7/10
    20.354
    LA TUA VALUTAZIONE
    • Regia
      • Béla Tarr
      • Ágnes Hranitzky
    • Sceneggiatura
      • László Krasznahorkai
      • Béla Tarr
    • Star
      • János Derzsi
      • Erika Bók
      • Mihály Kormos
    • 99Recensioni degli utenti
    • 182Recensioni della critica
    • 80Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 7 vittorie e 15 candidature totali

    Video1

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

    Foto61

    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
    + 55
    Visualizza poster

    Interpreti principali5

    Modifica
    János Derzsi
    János Derzsi
    • Ohlsdorfer
    Erika Bók
    Erika Bók
    • Ohlsdorfer's daughter
    Mihály Kormos
    Mihály Kormos
    • Bernhard
    Ricsi
    • Horse
    Mihály Ráday
    • Narrator
    • (voce)
    • Regia
      • Béla Tarr
      • Ágnes Hranitzky
    • Sceneggiatura
      • László Krasznahorkai
      • Béla Tarr
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti99

    7,720.3K
    1
    2
    3
    4
    5
    6
    7
    8
    9
    10

    Recensioni in evidenza

    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.
    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.
    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.
    10magus-9

    Extraordinary and haunting film about the apocalypse...

    For most of the film's length we watch a father and daughter's sparse and bleak existence in a remote farmhouse, blasted by an eternal wind. Only a couple of visitors come to break the near-silent existence of this couple and their ageing horse. Out of this silence and the wind and the darkness, an apocalyptic vision of a fallen, corrupt world emerges.

    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.
    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.

    Altri elementi simili

    Le armonie di Werckmeister
    7,9
    Le armonie di Werckmeister
    Sátántangó
    8,2
    Sátántangó
    Perdizione
    7,6
    Perdizione
    L'uomo di Londra
    7,0
    L'uomo di Londra
    Missing People
    7,2
    Missing People
    Almanacco d'autunno
    7,1
    Almanacco d'autunno
    Muhamed
    8,1
    Muhamed
    Nostalghia
    7,9
    Nostalghia
    Sacrificio
    7,9
    Sacrificio
    Rapporti prefabbricati
    7,2
    Rapporti prefabbricati
    Szabadgyalog
    6,5
    Szabadgyalog
    Nido familiare
    7,2
    Nido familiare

    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      The movie consists of only thirty shots.
    • Citazioni

      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.

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

    I più visti

    Accedi per valutare e creare un elenco di titoli salvati per ottenere consigli personalizzati
    Accedi

    Domande frequenti20

    • How long is The Turin Horse?Powered by Alexa

    Dettagli

    Modifica
    • Data di uscita
      • 31 marzo 2011 (Ungheria)
    • Paesi di origine
      • Ungheria
      • Francia
      • Germania
      • Svizzera
      • Stati Uniti
    • Siti ufficiali
      • Facebook
      • Official site (Japan)
    • Lingue
      • Ungherese
      • Tedesco
    • Celebre anche come
      • The Turin Horse
    • Luoghi delle riprese
      • Ungheria
    • Aziende produttrici
      • TT Filmmûhely
      • MPM Film
      • Vega Film
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Lordo Stati Uniti e Canada
      • 56.391 USD
    • Fine settimana di apertura Stati Uniti e Canada
      • 9145 USD
      • 12 feb 2012
    • Lordo in tutto il mondo
      • 162.088 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      2 ore 35 minuti
    • Colore
      • Black and White
    • Mix di suoni
      • Dolby Digital
    • Proporzioni
      • 1.66 : 1

    Contribuisci a questa pagina

    Suggerisci una modifica o aggiungi i contenuti mancanti
    Il cavallo di Torino (2011)
    Divario superiore
    What was the official certification given to Il cavallo di Torino (2011) in France?
    Rispondi
    • Visualizza altre lacune di informazioni
    • Ottieni maggiori informazioni sulla partecipazione
    Modifica pagina

    Altre pagine da esplorare

    Visti di recente

    Abilita i cookie del browser per utilizzare questa funzione. Maggiori informazioni.
    Scarica l'app IMDb
    Accedi per avere maggiore accessoAccedi per avere maggiore accesso
    Segui IMDb sui social
    Scarica l'app IMDb
    Per Android e iOS
    Scarica l'app IMDb
    • Aiuto
    • Indice del sito
    • IMDbPro
    • Box Office Mojo
    • Prendi in licenza i dati di IMDb
    • Sala stampa
    • Pubblicità
    • Lavoro
    • Condizioni d'uso
    • Informativa sulla privacy
    • Your Ads Privacy Choices
    IMDb, una società Amazon

    © 1990-2025 by IMDb.com, Inc.