Operating somewhere between Bergman and Tarkovsky, Béla Tarr has been a wholly original inspiration for remodernist filmmakers for his spiritually exploratory form of cinema that revels in extremely long takes and the dire desolation of humanity itself (see his 7.5 hour epic Sátántangó). With his longtime editor, Ágnes Hranitzky, Tarr co-directed what may turn out to be his final feature, the brutal, coldly intense paragon of philosophic, but to-the-point filmmaking, The Turin Horse. Pushing his craft to the bleakest edge of mankind, Tarr masterfully paints the maddening monotony and utter futility of waking up day after day in austere black in white. This is dark stuff, people. Real dark. And sadly, Tarr is said to be leaving cinema (directing) on this high, bleak note.
The film begins with a spoken word preface that tells the tale of Friedrich Nietzsche, in 1889 in Turin, Italy, observing a cab driver whipping his stubborn horse.
The film begins with a spoken word preface that tells the tale of Friedrich Nietzsche, in 1889 in Turin, Italy, observing a cab driver whipping his stubborn horse.
- 7/17/2012
- by Jordan M. Smith
- IONCINEMA.com
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