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“In Turin on 3rd January, 1889, Friedrich Nietzsche steps out of the doorway of number six, Via Carlo Albert. Not far from him, the driver of a hansom cab is having trouble with a stubborn horse. Despite all his urging, the horse refuses to move, whereupon the driver loses his patience and takes his whip to it. Nietzsche comes up to the throng and puts an end to the brutal scene, throwing his arms around the horse’s neck, sobbing. His landlord takes him home, he lies motionless and silent for two days on a divan until he mutters the obligatory last words, and lives for another ten years, silent and demented, cared for by his mother and sisters. We do not know what happened to the horse.” These are Béla Tarr’s introductory words at the beginning of his film, which picks up the narrative immediately after these events, and is a meticulous description of the life of the driver of the hansom cab, his daughter and the horse. (Vega Distribution)
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I don't think I'm just mainstream oriented. I am able to watch any movie. Whether mainstream or artistic. Anyway, with the artistic ones, I find it difficult to find a note that suits me, so I usually switch off the film. One night I couldn't fall asleep, so I watched The Turin Horse. I was curious how such a film, which was said to be one of the best films of 2011 on ČSFD, looks like. And it looks pretty weird. It's hard to describe. There is not much talking, the environment speaks for itself. I think everyone has something in them that can captivate them even in such films. For me, it was, for example, Stalker, which I liked and honestly I don't know exactly why. The Turin Horse is quite similar and I couldn't stand it.
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Béla Tarr is simply not a filmmaker I could ever like. His style of filmmaking is too poetic, it's too much of a parable that ultimately tells me nothing. It's hard to finish the film because you feel like it's about nothing. Nevertheless, in his films, you'll find scenes that might even make you think. I don't think I'll be watching any more of his films.
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Béla Tarr, like Nietzsche once did, touched his horse and was speechless. The Turin Horse is not a film ABOUT the Turin horse, it IS the Turin horse. A narratively parched image of a world in which nothing remains but despair, automatism, and emptiness. An intellectually monolithic image of a fading world from which meaning and hope depart as the last sigh. All that remains is the darkness, the gale, and the dictation of nothingness that mankind has brought onto itself. Along with Tarr's personal myth, The Turin Horse is one of the great achievements of contemporary art, Gesamtkunstwerk in an almost forgotten traditional sense, the narrative termination of the contract with the viewer and the world, the undiluted stumbling towards the final darkness. A film that resonates, and I daresay it will one day be one of the great reflections of the end of civilization.
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