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The Turin Horse

2011
Drama
2h 35m
1889. A rural farmer makes his living taking on carting jobs into the city with his horse-drawn cart. The horse is old and in very poor health, but does its best to obey its master's commands. The farmer and his daughter must come to the understanding that it will be unable to go on sustaining their livelihoods. The dying of the horse is the foundation of this tragic tale. (imdb)
Directed by:
Béla Tarr Béla Tarr Ágnes Hranitzky Ágnes Hranitzky
+1 more
Written by:
Béla Tarr Béla Tarr László Krasznahorkai László Krasznahorkai
+1 more
Starring:
János Derzsi János Derzsi Erika Bók Mihály Kormos Ricsi Mihály Ráday
More
Genre:
Drama
AKA:
Torinói ló, A
Countries:
France, Germany, Hungary, Switzerland
Languages:
German, Hungarian
imdb More information at IMDb
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The Turin Horse

2011
Drama
2h 35m
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Ratings & Reviews Cast Collections Similar Stats Trailer
Avg Percentile 73.28% from 1024 total ratings
Ratings & Reviews Cast Collections Similar Stats Trailer

Ratings & Reviews

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prowlerprowler
Rated 30 Jan 2013
40
37th
Tarr wants to say everything by saying nothing, and he almost succeeds.
Rated 30 Jan 2013
lisa_iilisa-
Rated 15 Jun 2014
10
99th
the very best films to me - those deserving of the highest scores - are those that somehow capture the very essence of everythingness and nothingness at the same time. a dedication to nietzsche, but beyond his philosopher's rejection of otherworldliness, tarr greets nihilism with a regretful yet emphatic embrace of its soulless beauty. and with the knowledge that this film ended his career, one gets the overwhelming sense of complete and utter finality. extraordinary.
Rated 15 Jun 2014
judge_holdenJudge Holden
Rated 02 Jan 2012
6
81st
Tarr has always been concerned with the uprooting of the weak by the strong, and so it is only fitting that his final film addresses nihilism in a more direct manner than his previous works. The cinematography is, of course, phenomenal. The world appears plagued by a howling nothingness, manifested by a wind that ravishes both the land and its inhabits. Unfortunately, Tarr's plodding style makes for a tedious and unrewarding watch, mostly because of how shallow and blunt his vision actually is.
Rated 02 Jan 2012
yiannosYiannos
Rated 20 Jul 2014
85
97th
(Viewed in 2012): Is it a grim existential parable? An epic funeral dirge? A slow motion apocalypse in miniature? There is an intense physicality to the mundane, grindingly repetitive day-to-day routine of these poor unfortunate souls that is both visceral and deeply affecting. Even if it's not Tarr's best film, it's a marvelous distillation of his signature style, and its bleak vision of extreme austerity is hard to ignore. Along with Gertrud, it's arguably the most final film ever made.
Rated 20 Jul 2014
sellissellis
Rated 03 Dec 2019
85
75th
The apocalyptic version of Jeanne Dielman. Moments of joy, connection, or any semblance of hope at the beginning may create a more dynamic, powerful experience. However, I'm sure this is not at all what Tarr was intending with this piece. For being so concerned with banality, no routine is shot exactly the same way and a transcendent spell is cast in the at once fluid and still lives of these empty people. A beautifully visualized tone poem, but not close to Tarr's best.
Rated 03 Dec 2019
friendo55friendo55
Rated 15 Feb 2012
57
12th
I loved the first 15-20 minutes showing their bleak existence through natural lighting and those harsh winds. But it didn't let up for the full 250 minutes. I can appreciate the themes and message behind it, but that alone doesn't make a rewarding film experience. Repetitive, draining, and unrewarding. Hard to sit through.
Rated 15 Feb 2012
aflickeringAFlickering
Rated 12 Mar 2013
6
86th
metal. as. fuck.
Rated 12 Mar 2013
alex_watkinsAlex Watkins
Rated 27 Dec 2011
5
91st
Not Tarr's best, but certainly the purest distillation of his ethos. If you find his films hollow and tedious, this will strengthen your opinion; if you're a fan, as I am, you still might find this a challenge. It's even more elemental than the apocalyptic Werckmeister Harmonies. Despite this, there's a strange comfort to be had in the protagonists' desolate routine, to the point that any intrusion, no matter how small, feels utterly jarring. The bleakest film from the master of bleak.
Rated 27 Dec 2011
dardandardan
Rated 24 Jul 2015
70
71st
https://www.youtube.com/watch?v=Pbdjrpx8h_M
Rated 24 Jul 2015
paulinpaulin
Rated 05 Oct 2011
94
92nd
It takes you in from the beginning: the haunting music and the imagery. The slow pace, the endless wind and the constant darkness. The worst thing, Tarr says, is that you cannot escape. And indeed, you cannot. I was sitting there, watching the last shots and the echoes of Tarr's promise to never touch the camera came racing through my mind. This is IT. This is a wonderful meditation on the heaviness and hopelesness of being. Beautiful. Haunting. Dark.
Rated 05 Oct 2011
moribunnyMoribunny
Rated 17 Nov 2011
30
15th
Recalls Au Hasard Balthazar, but mostly regurgitates The Naked Island without any of the magic. The faux-nihilistic religious sermon at the film's heart, the visual and musical pathos and generally the sledgehammer subtlety, filled me with renewed appreciation for Shindo's mastery, the perfection of his speechless script and the beauty of his music. Tarr's film doesn't convey sisyphean existence so much as it subjects the viewer to excruciating tedium.
Rated 17 Nov 2011
nrooNroo
Rated 30 Jul 2012
91
98th
It's Tarr hitting only one note, but he hits it right out of the fucking park.
Rated 30 Jul 2012
katieevanskatieevans
Rated 04 Apr 2015
88
94th
how about the guy who walked past me out of the theatre and said, "i wish that was on dvd so you could skip the repetitive parts" AHAHAHAHAAHAHHAHAHAHAHAHAHAHAHAHAHAHHAHAHA
Rated 04 Apr 2015
kagandirdimkagandirdim
Rated 13 Oct 2015
92
98th
sağ kolu işlevsiz bir babanın sol kolu ve kızıyla beraber tekerlek misali 6 gününü izledik. 6 gün boyunca baba ve kızla bekledik beraber çaba gösterdik, varoluş üzerine konuşmayı boş bulduk eğlence için yaşayanları aşağıladık, susuz kaldık yine de çabaladık ama 6 günde dünyayı yaratan tanrının 6.gün gelmesini beklerken umursanmadık, o an anladık 5 gündür yemeyi suyu reddeden onurlu atın halini işte niçeye de bu at anlattı tanrının bizi umursamadığın
Rated 13 Oct 2015
sirrobbieSirRobbie
Rated 02 Aug 2011
80
81st
End of everything...
Rated 02 Aug 2011
indifferentiindifferenti
Rated 07 Jun 2012
9
81st
Really, REALLY gorgeous cinematography in this one -- it felt like Tarkovsky at his best. Worth it just to see some of the shots yourself, although the film does move a bit slowly.
Rated 07 Jun 2012
suture_selfSuture Self
Rated 24 Dec 2011
3
24th
Tedious.
Rated 24 Dec 2011
valenzettiValenzetti
Rated 30 Sep 2012
93
94th
Draining, but worth it. The most perfect rendition I've seen of the end of a world.
Rated 30 Sep 2012
henrikHenrik
Rated 26 Feb 2011
85
90th
The slow pacing, the deliberate repetition, the haunting score and beautiful, crisp cinematography makes it a mesmerising experience about two people's harsh struggle against sure death.
Rated 26 Feb 2011
jschlanskyJSchlansky
Rated 18 Mar 2017
65
50th
Takes 45 minutes for the first thing to happen and another 20 minutes for the second thing to happen. An hour and 18 minutes in I decided to find out if it was possible to watch this film whilst simultaneously watching a British sitcom without hampering the enjoyment of either. Now I'm two hours in, just finished the first season of Grandma's House and am writing this review while waiting for the third thing to happen.
Rated 18 Mar 2017
martintellerMartinTeller
Rated 23 Dec 2011
97
99th
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. The film is loaded with stark, gorgeous, unforgettable visions. A funereal dirge 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.
Rated 23 Dec 2011
kasperlKasperL
Rated 20 Feb 2011
55
39th
I can relate to those who will find the slow pacing ridiculous, if Tarr's movie can indeed by called paced at all. It's a movie that I would highly recommend for the patient, especially if you appreciate beautiful cinematography. That and the repetitative score put me in a trance-like, meditative state. As for the themes, I would say that they have been explored better in other films. I'm not even sure I would even classify this as a film, actually. Rather, it is an accomplished piece of art.
Rated 20 Feb 2011
icarusIcarus
Rated 18 Jun 2012
90
89th
Tarr's "final" film transitions from movement to stasis, from open to closed, and from light to darkness--a true de-creation. And yet, it ends with a pause, one that seems more question than statement, "Now what?" The film's intense focus on action over statement is its strength, with a single scene of extended dialogue. As the light flickers out near the end of the film, one wonders about the future of the dad/daughter, the future of our world, and the future of cinema. Will the light return?
Rated 18 Jun 2012
witzelsuchtwitzelsucht
Rated 07 Jun 2012
9
90th
I never want to see a boiled potato again.
Rated 07 Jun 2012
bandyBandy
Rated 09 Jan 2012
85
82nd
Father and daughter live their repetitive, joyless lives day after day, unwilling or unable to express any affection whatsoever for one another or for their solitary horse, the proceedings interrupted only by further evidence that their world is utterly miserable. Bleak even for Tarr, but still an impressive piece of art.
Rated 09 Jan 2012
owen1218owen1218
Rated 14 Jan 2020
50
18th
Over 2 1/2 hours of a woman dressing and undressing her father, gathering water from the well, and eating potatoes together, over and over like a bad cut of Groundhog Day. Interspersed with scenes of a dying horse, a crackpot theologian, and anti-Roma racism. In the background, we hear the most obnoxious stock wind sound that everyone knows play out a thousand times. Only an arrogant, self-important man could think this worth imposing on people.
Rated 14 Jan 2020
susie_mauvesusie-mauve
Rated 31 Jan 2013
63
13th
I see what you did there, but i`ve seen it one too many times. Also, gypsies need love too.
Rated 31 Jan 2013
elysian_airElysian Air
Rated 27 Jul 2012
100
98th
Each shot is composed to perfection−long forays into cinematographic brilliance. The prologue after the spoken introduction is one of the finest, masterful displays of this technique. The black and white photography is simply beautiful; the forlorn quality of the images imbue the singular bleakness of the narrative. The score is fantastic in the way that it embodies the sheer force of the monotony of the daily routine, or to borrow a phrase from Tarr, the "heaviness of human existence".
Rated 27 Jul 2012
anomalyAnomaly
Rated 27 Oct 2016
88
91st
Tarr takes his hypnotic style and themes to their logical conclusion. A brutal and depressing experience, and one not shaken off easily. The actors probably hated potatoes by the end of filming. Will certainly make you appreciate all you have in life.
Rated 27 Oct 2016
fredericg54frederic_g54
Rated 28 Jan 2017
3
9th
Crushingly boring and vacuous, to the point where it almost becomes a self-parody of Tarr's former work. Trademark visuals aside, the film's title belies a painfully drawn-out story that falsely and misleadingly hints at some profound, philosophical reflections. Instead, you're left with a film that's desperately trying to be about something while failing to be anything. I guess that's one way to end a great career.
Rated 28 Jan 2017
neonmanNeonman
Rated 21 Feb 2012
81
66th
A tragic story told simply through beautiful (and of course, long) scenes of utter bleakness and stagnating hope and humanity. It's a big intake and totally exhausting to watch, but also highly alluring in the blackest sense and overloads the senses with patient cinematography and repetitive, empty noise. This film is utterly like no other.
Rated 21 Feb 2012
letskillrobotsletskillrobots
Rated 19 Sep 2013
33
96th
I am so sad
Rated 19 Sep 2013
halukilhanhalukilhan
Rated 17 Jan 2012
60
4th
sinematoografi
Rated 17 Jan 2012
srmt99srmt99
Rated 19 Aug 2023
79
48th
Not to be watched by most people as they will fall sleep during the movie. But if it manages to catch your attention (which it did for me) you will find something in it you just can't find in other movies. You can feel death creeping through the wind and the windows, and you can 'live' the man and the woman's struggles as their simple, slow story unfolds.
Rated 19 Aug 2023
kercKerc
Rated 03 Dec 2011
28
92nd
I don't know how the crunch of a raw potato could be so jarring (and on reflection, devastating), but Tarr just gets at me like that.
Rated 03 Dec 2011
jpotiijpotII
Rated 24 Mar 2018
90
94th
Capricórnio.
Rated 24 Mar 2018
obdurateObdurate
Rated 14 Nov 2011
90
91st
If u have seen a Tarr film, you know what to expect: slow, long takes, heavy themes. As I watched this, it didn't instantly grab me like Werckmeister Harmonies did, but afterwards I felt similar... like now it will weigh heavily on me. This is what Tarr is good at. Even if u don't instantly recognize it; the cinematography, dialogue, constant darkness, the poetry of the visuals and the pacing, the music... it has already taken a hold of you and it's not going to let go.
Rated 14 Nov 2011
nepetaNepeta
Rated 09 Jan 2013
100
99th
Apocalyptic. The lantern refusing to light even though it is full of fuel and was working only a few minutes prior leaving the two people talking to one another in complete darkness (a scene so startling and unsettling I'm a bit sad it wasn't used as the final scene of the film). The endless gales, getting more and more exhausting as the film continues. "The daily repetition of the same routine makes it possible to show that something is wrong with their world. It's very simple and pure."
Rated 09 Jan 2013
selcukburcakselcukburcak
Rated 13 May 2020
97
99th
"to me, that's cinema.."
Rated 13 May 2020
astrakhanastrakhan
Rated 05 Feb 2018
65
9th
"The Windy Farmhouse", I think I would have called this film if I was Bela Tarr. Imitating film techniques of a bygone era, this drawn-out epic is not suitable for mainstream audiences, modern people, anyone with an iota of ADHD, or the sane. If you give it your full attention, I think you end up mad. Well, I had it on in the background and the 2.5 hours passed quicker than I thought. I didn't see anything I felt was worth tuning in for, though. Art for highbrow masochists or something.
Rated 05 Feb 2018
bownBown
Rated 28 Oct 2022
90
93rd
Even by Tarr standards, this is intensely bleak and nihilistic, as well as his loneliest and most austere work, which means you have even more time to drink in the details of the farm, the faces, the wind. A near-unbearably sad portrayal of daily routines among the end times, and a fitting capstone to the career of one of all of cinema’s most singular filmmakers.
Rated 28 Oct 2022
ceekay19Ceekay19
Rated 06 Feb 2021
80
80th
Narrator: "For the solidly built and full-moustached gentleman suddenly jumps up to the cab and throws 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 "Mutter, ich bin dumm!" and lives for another ten years, silent and demented, under the care of his mother and sisters. We do not know what happened to the horse."
Rated 06 Feb 2021
judo_koalaJudo Koala
Rated 02 Nov 2020
84
87th
Shades of Bresson abound in this story that plays like the Book of Genesis in reverse, creating a fatalism so overbearing it's almost enough to make you laugh if you weren't so busy being entranced by Fred Kelemen's pitch-perfect framing and languid movement and Mihály Víg's dysphoric, wrenching leitmotif. Tarr's uncompromising descent into the abyss of human existence isn't a mirthful watch, but is valuable for encapsulating much of the existential ennui of the 2010s.
Rated 02 Nov 2020
lintonmyroxylintonmyroxy
Rated 03 Nov 2020
85
51st
I rarely watch long movies in one sitting but I had little trouble doing it here. Despite my entrancement it's too short on ideas to be great
Rated 03 Nov 2020
zokuzoku
Rated 31 May 2014
100
95th
Deeply moving.
Rated 31 May 2014
djrossdjross
Rated 12 Dec 2013
80
91st
By a strange coincidence, 2011 was the year von Trier, Ferrara and Tarr all chose to bring the world to an end. This version is the most abstract, and perhaps the bleakest. Photography and shot design are superb, and this portrayal of existence stripped back to the fundamental mechanics of everyday life is both very interesting and not boring, but this viewer was still not quite convinced of its greatness. Tarkovsky meets Bresson, and there is one shot quite heavily reminiscent of Kiarostami.
Rated 12 Dec 2013
eraslaneraslan
Rated 21 Jun 2019
92
73rd
bu filmden ne anladığımı anlatamıyorum
Rated 21 Jun 2019
photinaphotina
Rated 14 Feb 2016
92
73rd
Stunning to look at, from the film's beautiful palette of greys to the compositional artistry in nearly every shot. It's never boring, always engaging. Its glacial pace creates for the audience an atmosphere of waiting--matched by the characters on screen, who wait for death to slowly, inevitably arrive.
Rated 14 Feb 2016
francogonzoFrancoGonzo
Rated 18 Feb 2016
13
69th
Star Rating: ★★★1/2
Rated 18 Feb 2016
slugslug
Rated 27 Jun 2014
2
2nd
Painful.
Rated 27 Jun 2014
honeybHoneyB
Rated 17 Dec 2019
80
75th
Fading away. It's not easy to film it and it's not easy to watch it.
Rated 17 Dec 2019
moraesfelipemoraesfelipe
Rated 30 Mar 2016
80
85th
Death comes in the form a fucking wind. What a powerful experience.
Rated 30 Mar 2016
dtortumdtortum
Rated 10 Oct 2011
85
47th
I genuinely disliked this film, however it was a perfect final film for Bela Tarr. The content completely disappeared and there was only pure form. A complete descend into nihilism. A perfect end to a directing career. But I don't know if the film works by itself. Also, I realized in NYFF that Tarr had became a cult figure, a figure who has fanatic fans all over the world. I'm so happy for this but it is highly surprising as well.
Rated 10 Oct 2011
natebarriosnatebarrios
Rated 30 Jun 2017
75
75th
the definition of The Struggle
Rated 30 Jun 2017
ottott
Rated 26 Jun 2017
98
99th
Death of the world. What lisa- said.
Rated 26 Jun 2017
sveneriksvenerik
Rated 18 Feb 2013
65
35th
Taxing but rewarding and certainly deeply original and unforgettable from one of cinema's most challenging and insightful auteurs.
Rated 18 Feb 2013
driscarpindriscarpin
Rated 21 Dec 2013
99
98th
O melhor filme dos anos 2010 estreava há 10 anos no Festival de Berlim. Tinha prometido que só reveria esse filme no cinema, mas não me aguentei, obra-prima de condição estética e filosófica, não é preciso esforço para saber o quanto amo esse filme já que Jeanne Dielman é um dos meus filmes favoritos. O eterno retorno da labuta enfadonha diária. BlurayRip no MakingOff.
Rated 21 Dec 2013
cinegeekdecinegeek.de
Rated 19 Apr 2016
81
65th
(...) Während das Pferd sich weigert, zu arbeiten, zu essen oder zu trinken, beginnt der Weltuntergang. Sind wir womöglich Zeugen von Gottes Tod? Und das Pferd? Ist es gar eine Transformation von Nietzsche selbst, der die letzten Tage der Menschheit beobachtet? Überhaupt glaube ich den Philosophen nun auch in anderen Figuren wieder zu erkennen(...)
Rated 19 Apr 2016
deaddillydeaddilly
Rated 28 Jan 2024
90
93rd
Watching lifeforce wither away completely, apocalypse of the soul.
Rated 28 Jan 2024
parcalihamparcaliham
Rated 02 Apr 2011
90
88th
02 nisan 2011, 30. ist film festivali, yonetmenin katilimiyla & an anti-genesis pure cinema experience about unbearable "heaviness" of being in a world where God does not exist. / / / tanri'nin olmadigi bir dunyada, varolmanin dayanilmaz 'agirligi' hakkinda anti-genesis bir 'pure cinema' deneyimi/denemesi.
Rated 02 Apr 2011
mrcimrci
Rated 25 Aug 2020
80
86th
Apocalypse of cinema? Mankind? Only 30 scenes and hypnotic and minimalist music.
Rated 25 Aug 2020
slantmagSlantMag
Rated 10 Oct 2011
40
97th
"Béla Tarr is the cinema's greatest crafter of total environments and in The Turin Horse, working in his most restricted physical setting since 1984's Almanac of Fall, he dials up one of his most vividly immersive milieus." - Andrew Schenker
Rated 10 Oct 2011
psimpsim
Rated 13 May 2019
77
59th
A fascinating, very bleak and extreeeemely slow movie about the soul-crushing drudgery of everyday life.
Rated 13 May 2019
luordluord
Rated 09 Aug 2017
53
31st
About as interesting to watch as drying paint. Its mind-numbingly slow pace and delusions of grandeur are almost obnoxious. It's still competently made, however.
Rated 09 Aug 2017
caimancaiman
Rated 28 Jan 2013
92
95th
Being similar in style and tone to Tarr's past films, this one focuses more on repetition to convey a sense of monotony. Tarr does his usual phenomenal job of creating a haunting world filled with detail, and we get plenty striking shots that linger in our minds. Lacking, however, are his unpredictable camera movements - we get a few, but not as many. Nevertheless, this is a gorgeous movie that left me shaken, moved and contemplative. Only Tarr could make bleakness and tedium this beautiful.
Rated 28 Jan 2013
jakeaestheteJakeAesthete
Rated 21 Jul 2015
22
19th
Fuck ya'll and your dumb potatoes.
Rated 21 Jul 2015
cinesexualcinesexual
Rated 27 Apr 2013
90
90th
Magnificent filming of the ordinary hard-scrabble daily minutiae of a man, his daughter and a horse, in a windswept bowl of a hill, mostly without dialogue. There's a brief interlude in which a neighbor borrows some alcohol and riffs on Nietzsche, then a gypsy wagon wends across the horizon with all the weight and portent of the angel of death. For me, compulsively watchable.
Rated 27 Apr 2013
branledorebranledore
Rated 20 Nov 2016
61
14th
bütün film patates yediler
Rated 20 Nov 2016
le_mamile mami
Rated 25 Mar 2020
85
89th
Tekrar düşüneceğim, bazı açılardan çok etkiledi film beni.
Rated 25 Mar 2020
auhasarderikauhasarderik
Rated 22 Jan 2013
6
40th
Naturalistic and stark art-house melodrama, a bore to sit through but with punctual exquisite moments.
Rated 22 Jan 2013
shockularSHOCKULAR
Rated 18 Sep 2022
78
66th
Here is a movie that is so slow and so objectively dull that a man knocking on a door to ask to borrow a bottle of booze feels like an action scene, yet I really liked it? I've never been quite as confused by liking a movie. Not sure if it's the slow, subtle and masterful camerawork (how did they manage that first scene?), the music, or the wind, but this drew me in to an uncommon degree, especially considering how little actually happens. Immersive. A triumph of form over substance.
Rated 18 Sep 2022
vinegarbobVinegarBob
Rated 16 Oct 2011
90
96th
What a beautiful, hypnotic film. The cinematography is breathtaking and the sound design is phenomenal. You may not have 'fun' watching this - the themes are bleak and the pacing is glacial, but if you open yourself to the experience it's one you'll not quickly forget.
Rated 16 Oct 2011
bofbof
Rated 30 Apr 2013
82
88th
Essentially a silent movie - very little dialogue, and every scene a monument hewed in granite and shown in flickering light, while the plot reads like a two-man play (right down to the generic props). Don't get too hooked up on what it MEANS, it's one of the most gorgeous and engrossing movies I've seen in a very long time. The horse stops walking, the worms stop eating, the neighbours stop visiting, the world slowly disappears in the storm until even the howling wind itself disappears.
Rated 30 Apr 2013
daxvDaxV
Rated 21 Apr 2020
87
71st
There are some things I will admit I don't quite understand about this one, but it accomplished something very important. I was completely immersed by this, I felt very connected to everything that was being shown visually. The score, atmosphere and stunning visuals come together for a very bleak journey. I can easily see myself returning to this one.
Rated 21 Apr 2020

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