The Turin Horse Full Movie Download

[Alfie Overacre]

TheTurin Horse (Hungarian: A torini l) is a 2011 Hungarian period drama film directed by Bla Tarr and gnes Hranitzky, starring Jnos Derzsi, Erika Bk and Mihly Kormos.[2] It was co-written by Tarr and his frequent collaborator Lszl Krasznahorkai. It recalls the whipping of a horse in the Italian city of Turin that is rumoured to have caused the mental breakdown of philosopher Friedrich Nietzsche. The film is in black-and-white, shot in only 30 long takes by Tarr's regular cameraman Fred Kelemen,[3] and depicts the repetitive daily lives of the horse-owner and his daughter.

The film was an international co-production led by the Hungarian company T. T. Filmműhely. Tarr announced then that it was to be his last film. After having been postponed several times, it premiered in 2011 at the 61st Berlin International Film Festival, where it received the Jury Grand Prix. The Hungarian release was postponed after the director criticised the country's government in an interview.

The film begins with a likely apocryphal story about German philosopher Friedrich Nietzsche's mental breakdown on 3 January 1889 when he stayed at number six, Via Carlo Alberto, Turin, Italy. There, a coach driver was having trouble with a stubborn horse. The horse refused to move, whereupon the driver lost his temper and took his whip to it. Nietzsche was greatly disturbed and threw his arms around the horse's neck, sobbing. His neighbor took him home, where he lay motionless and silent for two days on a divan, until he muttered the words "Mutter, ich bin dumm". He lived for another ten years, gentle and demented, in the care of his mother and sisters.

The film then moves to the countryside, possibly in the 19th century Great Hungarian Plain, where the coach driver lives with his daughter and the horse. (The narrator hinted that this is the same horse and coach driver seen by Nietzsche, even though the landscape could not be more removed from the neighborhood of Turin.) It depicts six days of their lives. Outside of their hut, windstorms rage. They live out an arduous and repetitive existence and often take turns sitting by the window alone. Starting on the second day, the horse becomes increasingly uncooperative, refusing to leave the property or eat and drink. In the evening a neighbor Bernhard visits to buy some brandy; he claims that the nearby town has been completely destroyed, and blames the apocalyptic scenario on both God and man.

On the third day, a band of "gypsies" (Romani) arrives on a horse-drawn vehicle and drinks from the family's well without permission. The daughter and then the father come out to drive them away. Before departing, some young men from the band warn that they will come back to use the well, and an old man gives the daughter a book, which she reads that evening. When they wake up the next morning on the fourth day, they find that the well is completely dry. The father decides they must abandon the farm; the two pack and depart with a pushcart. The horse does not draw the cart but behaves uncharacteristically well. At some point during their journey, they turn back for unspecified reasons and unpack. On the fifth day, they find the horse is unwell (perhaps dying) and not fit to work. The father removes the horse's reins and leaves it in the barn. The father and daughter then stay indoors for the day, with the wind continuing howling outside. At night, the light which has been working suddenly fails and the house plunges into complete darkness. On the sixth day, we no longer hear the howling winds or see the sun light. Now subsisting on raw potatoes, the daughter refuses to eat or talk, seemingly resigning to her fate. The father appears to follow, not finishing his potato and sitting with his daughter in silence.

The idea for the film had its origin in the mid 1980s, when Tarr heard Krasznahorkai retell the story of Nietzsche's breakdown, and ended it by asking what happened to the horse. Tarr and Krasznahorkai then wrote a short synopsis for such a story in 1990, but put it away in favour of making Stntang. Krasznahorkai eventually wrote The Turin Horse in prose text after the production of the duo's previous film, the troublesome The Man from London. The Turin Horse never had a conventional screenplay, and Krasznahorkai's prose was what the filmmakers used to find financial partners.[4]

The Turin Horse was produced by Tarr's Hungarian company T. T. Filmműhely, in collaboration with Switzerland's Vega Film Production, Germany's Zero Fiction Film and France's MPM Film. It also had American involvement through the Minneapolis-based company Werc Werk Works. The project received 240,000 euro from Eurimages and 100,000 euro from Medienboard Berlin-Brandenburg.[5]

Filming was located to a valley in Hungary. The house, well and stable were all built specifically for the film, and were not artificial sets but proper structures of stone and wood.[4] The supposed 35-day shoot was set to take place during the months of November and December 2008.[6] However because of adverse weather conditions, principal photography was not finished until 2010.[7]

Tarr announced at the premiere of The Man from London that he was retiring from filmmaking and that his upcoming project would be his last.[5] The Turin Horse was originally planned to be finished in April 2009 and ready to be screened at the 2009 Cannes Film Festival.[5] After several delays, it was finally announced as a competition title at the 61st Berlin International Film Festival, where it premiered on 15 February 2011.[needs update][8]

The Turin Horse was originally set to be released in Hungary on 10 March 2011 through the distributor Mokep.[9] However, in an interview with the German newspaper Der Tagesspiegel on 20 February, Tarr accused the Hungarian government of obstructing artists and intellectuals, in what he referred to as a "culture war" led by the cabinet of Viktor Orbn. As a consequence to these comments, Mokep cancelled its release of the film.[10] It eventually premiered in Hungary on 31 March 2011 instead. It was distributed in five prints through a collaboration between Cirko Film and Mskpp Alaptvny.[11]

The Turin Horse received critical acclaim. At Metacritic, the film received an average score of 80/100, based on 15 reviews.[12] The film holds an 89% rating on the review aggregator Rotten Tomatoes based on 63 reviews, with an average rating of 8.10/10. The critical consensus states, "Uncompromisingly bold and hauntingly beautiful, Bela Tarr's bleak parable tells a simple story with weighty conviction."[13]

The film won the Jury Grand Prix Silver Bear and the Competition FIPRESCI Prize at the Berlin Film Festival.[18] It was selected as the Hungarian entry for the Best Foreign Language Film at the 84th Academy Awards,[19][20] but it did not make the final shortlist.[21] Tiny Mix Tapes named it the best film of 2012.[22]

Narrator: In Turin on the 3rd of January 1889, Friedrich Nietzsche steps out of the doorway of number six, Via Carlo Albert, perhaps to take a stroll, perhaps to go by the post office to collect his mail. Not far from him, the driver of a hansome cab is having trouble with a stubborn horse. Despite all his urging, the horse refuses to move, whereupon the driver - Giuseppe? Carlo? Ettore? - loses his patience and takes his whip to it. Nietzsche comes up to the throng and puts an end to the brutal scene caused by the driver, by this time foaming at the mouth with rage. 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.

The owner of the horse beats the animal again and again responding to those who protest his cruelty that the animal is his property. The young Raskolnikov approaches and attempts to stop the blows raining down. When the horse eventually falls, the child embraces him, only finally torn away by his father. At that moment the protagonist wakes from his nightmare. Raskolnikov understands the dream as a premonition and knows that he is, simultaneously, horse, boy, and the man with the whip. He then gets out of bed, dresses, and prepares himself for murder.

Most people, even those who are far removed from the world of design, are familiar with some type of typography and its ability to transform any text, help out dyslexics or stretch an eight page paper

Two Places, Inside/Outside: The rhythm of the film is also modulated by the way the two characters spend their time between the inside, their shanty home, and the inhospitable outside. Certain duties take them outside: fetching water, feeding the horse; others make them stay inside: sleeping, resting, cooking, eating. They seem just as miserable inside or outside, neither seeming like a reprieve or a moment that provides some fun or relaxation.

Two Things they Imbibe and Eat: The simplicity of their lives is matched by their diet. All we ever see the daughter cook and the two eat is a single boiled potato. The father attacks the potato, ravaging it with his single good hand, and, never having the patience to wait until the skin cools, scalding his hand. The daughter by contrast eats her potato quietly and calmly. They never seem to finish the potato, and he always leave to sit by the window. And all they ever drink is the clear alcohol, palinka I imagine.

Donato Totaro has been the editor of the online film journal Offscreen since its inception in 1997. Totaro received his PhD in Film & Television from the University of Warwick (UK), is a part-time professor in Film Studies at Concordia University (Montreal, Canada) and a longstanding member of AQCC (Association qubcoise des critiques de cinma).

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