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O Cavalo de Turin

Título original: A torinói ló
  • 2011
  • 12
  • 2 h 35 min
AVALIAÇÃO DA IMDb
7,7/10
20 mil
SUA AVALIAÇÃO
O Cavalo de Turin (2011)
A rural farmer is forced to confront the mortality of his faithful horse.
Reproduzir trailer2:36
1 vídeo
61 fotos
Psychological DramaTragedyDrama

Um camponês é forçado a enfrentar a mortalidade de seu fiel cavalo.Um camponês é forçado a enfrentar a mortalidade de seu fiel cavalo.Um camponês é forçado a enfrentar a mortalidade de seu fiel cavalo.

  • Direção
    • Béla Tarr
    • Ágnes Hranitzky
  • Roteiristas
    • László Krasznahorkai
    • Béla Tarr
  • Artistas
    • János Derzsi
    • Erika Bók
    • Mihály Kormos
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    7,7/10
    20 mil
    SUA AVALIAÇÃO
    • Direção
      • Béla Tarr
      • Ágnes Hranitzky
    • Roteiristas
      • László Krasznahorkai
      • Béla Tarr
    • Artistas
      • János Derzsi
      • Erika Bók
      • Mihály Kormos
    • 99Avaliações de usuários
    • 182Avaliações da crítica
    • 80Metascore
  • Veja as informações de produção no IMDbPro
    • Prêmios
      • 7 vitórias e 15 indicações no total

    Vídeos1

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

    Fotos61

    Ver pôster
    Ver pôster
    Ver pôster
    Ver pôster
    Ver pôster
    Ver pôster
    + 55
    Ver pôster

    Elenco principal5

    Editar
    János Derzsi
    János Derzsi
    • Ohlsdorfer
    Erika Bók
    Erika Bók
    • Ohlsdorfer's daughter
    Mihály Kormos
    Mihály Kormos
    • Bernhard
    Ricsi
    • Horse
    Mihály Ráday
    • Narrator
    • (narração)
    • Direção
      • Béla Tarr
      • Ágnes Hranitzky
    • Roteiristas
      • László Krasznahorkai
      • Béla Tarr
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários99

    7,720.3K
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    10

    Avaliações em destaque

    8fat-thor-163-288906

    Potatoes

    The way in which the characters eat their potatoes is fascinating. I'll never look at a potato the same.
    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.
    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.
    10MartinTeller

    Brilliant final(?) film for Tarr

    I can't organize my thoughts so I'm just going to spill them out and sort them out some other time. Although it is a shame (a tragedy) that Bela Tarr will make no more films after this, but perhaps it is a fitting end. A farmer (we assume... he has a horse but it's unclear exactly how he makes a living, if he does at all) and his daughter trudge joylessly through their monotonous routine. Getting dressed, schlepping water from the well, eating a meal of simply boiled potatoes, and for relaxation, staring out the window. Over the course of 6 days, we see -- in a manner mildly reminiscent of JEANNE DIELMAN -- the routine start to break down as some sort of vague apocalypse seems to be descending upon them. Life, what little is left of it, is draining out of the world. A neighbor delivers a monologue about the degradation of humanity, how the good people have quietly faded away while the rest debase everything they touch. A wandering pack of gypsies leaves the daughter ("eyes of the devil") a religious text. Is it these two particular people who are doomed, or being judged? Or all of mankind? Tarr, as usual, not only doesn't give answers, he doesn't even let you know if he's asking the question.

    Which is to say, if you loved any of Tarr's previous four films, you will probably love this one, although it is his bleakest. The cinematography is, as one would expect, jaw-droppingly rich. From the opening shot of the horse defining the word "struggle", to Ohlsdorfer's sunken, skull-like eyes, to the spine-chilling image of the daughter's beaten-down face staring out the window, the film is loaded with stark, gorgeous, unforgettable visions. Mihaly Vig once again submits an incredible score, a funereal dirge that shares the soundtrack with the incessant howling wind. Tarr's films have a tactile effect, and here you can truly feel the bitter cold of the landscape and the house that surely does little to protect its occupants from the elements.

    It's a haunting film, and perhaps Tarr's most difficult... although only a third the length of SATANTANGO, the repetitiveness gives it less forward momentum. But it completely worked its way under my skin. It's mesmerizing, thought-provoking, breathtaking. If Tarr makes another film, I'll be thrilled, but if he doesn't, at least he's left me some of the greatest works of art I've ever seen.
    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.

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    Enredo

    Editar

    Você sabia?

    Editar
    • Curiosidades
      The movie consists of only thirty shots.
    • Citações

      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.

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

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    Perguntas frequentes20

    • How long is The Turin Horse?Fornecido pela Alexa

    Detalhes

    Editar
    • Data de lançamento
      • 7 de janeiro de 2016 (Brasil)
    • Países de origem
      • Hungria
      • França
      • Alemanha
      • Suíça
      • Estados Unidos da América
    • Centrais de atendimento oficiais
      • Facebook
      • Official site (Japan)
    • Idiomas
      • Húngaro
      • Alemão
    • Também conhecido como
      • The Turin Horse
    • Locações de filme
      • Hungria
    • Empresas de produção
      • TT Filmmûhely
      • MPM Film
      • Vega Film
    • Consulte mais créditos da empresa na IMDbPro

    Bilheteria

    Editar
    • Faturamento bruto nos EUA e Canadá
      • US$ 56.391
    • Fim de semana de estreia nos EUA e Canadá
      • US$ 9.145
      • 12 de fev. de 2012
    • Faturamento bruto mundial
      • US$ 162.088
    Veja informações detalhadas da bilheteria no IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      2 horas 35 minutos
    • Cor
      • Black and White
    • Mixagem de som
      • Dolby Digital
    • Proporção
      • 1.66 : 1

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