A Torinói ló
Ohjaus Béla Tarr, Ágnes Hranitzky
Pääosissa János Derzsi, Erika Bók ja Mihály Kormos
Tekstitys englanti
In Turin, on the third of January in 1889, Friedrich Nietzsche steps out of the door of Number Six Via Carlo Alberto – perhaps to take a stroll, perhaps to go by the post office to collect his mail.
Not far from him, or indeed very removed from him, a cabman is having trouble with his stubborn horse. Despite all his urging, the horse refuses to move, whereupon the cabman – 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 of the cabman, who by then is foaming with rage. The solidly built and full-moustached Nietzsche suddenly jumps up to the cab and throws his arms around the horse’s neck, sobbing. His neighbour takes him home, where he lies still 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, gentle and demented, in the care of his mother and sisters. Of the horse, we know nothing.
As his self-declared last film, renowned Hungarian filmmaker Bela Tarr (Satantango, Werckmeister Harmonies has collaborated again with his co-author, writer Laszlo Krasznahorkai on the screenplay of THE TURIN HORSE. This work is also committed to Tarr's 're-modernist cinema' that seeks to capture the rhythm of life in real time and to raise a sharp awareness of the moment.
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