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IMDbPro

El caballo de Turín

Título original: A torinói ló
  • 2011
  • A
  • 2h 35min
PUNTUACIÓN EN IMDb
7,7/10
21 mil
TU PUNTUACIÓN
El caballo de Turín (2011)
A rural farmer is forced to confront the mortality of his faithful horse.
Reproducir trailer2:36
1 vídeo
61 imágenes
Drama psicológicoTragediaDrama

Un granjero se enfrenta a la muerte de su leal caballo.Un granjero se enfrenta a la muerte de su leal caballo.Un granjero se enfrenta a la muerte de su leal caballo.

  • Directores/as
    • Ágnes Hranitzky
    • Béla Tarr
  • Guionistas
    • László Krasznahorkai
    • Friedrich Nietzsche
    • Béla Tarr
  • Estrellas
    • János Derzsi
    • Erika Bók
    • Mihály Kormos
  • Ver la información de la producción en IMDbPro
  • PUNTUACIÓN EN IMDb
    7,7/10
    21 mil
    TU PUNTUACIÓN
    • Directores/as
      • Ágnes Hranitzky
      • Béla Tarr
    • Guionistas
      • László Krasznahorkai
      • Friedrich Nietzsche
      • Béla Tarr
    • Estrellas
      • János Derzsi
      • Erika Bók
      • Mihály Kormos
    • 101Reseñas de usuarios
    • 183Reseñas de críticos
    • 80Metapuntuación
  • Ver la información de la producción en IMDbPro
    • Premios
      • 7 premios y 15 nominaciones en total

    Vídeos1

    U.S. Version
    Trailer 2:36
    U.S. Version

    Imágenes61

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    Reparto Principal5

    Editar
    János Derzsi
    János Derzsi
    • Ohlsdorfer
    Erika Bók
    Erika Bók
    • Ohlsdorfer's daughter
    Mihály Kormos
    Mihály Kormos
    • Bernhard
    Mihály Ráday
    • Narrator
    • (voz)
    Ricsi
    • Horse
    • Directores/as
      • Ágnes Hranitzky
      • Béla Tarr
    • Guionistas
      • László Krasznahorkai
      • Friedrich Nietzsche
      • Béla Tarr
    • Todo el reparto y equipo
    • Producción, taquilla y más en IMDbPro

    Reseñas de usuarios101

    7,720.6K
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    10

    Reseñas destacadas

    9treywillwest

    Two people pretend the world isn't ending.

    Bela Tarr claims this will be his last film, and damn does it have finality written all over it. I guess there's few ways to be more final than to devote a work to the end of humanity. And I've never seen a film that struck me as more authentically apocalyptic than this one. It is immediately strange to say then, that one of the things that most impressed me about this juggernaut is its ultra-sly humor. Tarr really is a nihilist and a misanthrope, at least philosophically. The fall of our silly little species really is funny to him, in the darkest way possible, and in half audible beats he makes it funny for us too. All of the other species have sensed the death of the world and have, reasonably, stopped trying to survive. Only homosapiens, represented by a half-functioning horse-carriage driver and his daughter, are clueless enough to continue their wretched routine in the face of a blatant apocalypse. We, along with Tarr, laugh at, pity, and admire the duo for this all at the same time. This is why I call Tarr a misanthrope in philosophy only. In practice, he has love for his fools, even as he leads them towards annihilation. The film includes many references to cinematic finality as well. Fading lanterns, windows that show a world that is becoming not, opaque, all suggest an abandoned cinema. The empty shell of a cinematic artist imagining his own abandoned corpse.
    10bananasandtomatoes

    A review

    It is very hard to review a film like this.

    It's one of the films that leaves a permanent mark on you. You think about it for days and days, and even after several months or years you remember it, and remember how it made you feel. And it made you feel bad. A feeling of impeding doom.

    One of the films that are so magnificent, but are so hard to watch, that you're never gonna watch it again.

    The ending is so powerful, that I set there as it ended and wept for a while without even knowing why I was weeping.

    In short, it's a story about creating of the world, but in reverse - the destruction of the world through the eyes of two people.
    9dtopuz

    A moving piece, I would give a 10 if there was a 7th day

    I watched Turin Horse the very day (2.April.11) and heard the director warning the already clapping audience "do not before you watch the movie". I was among the ones who were moved by the piece, not just because its originality, excellent cinematography, impressive music, the acting but because it really touched me from the very heart. I am not a fan of Nietzsche or literate on his works but probably I was in the right state of mind to get a meaning out of the movie in my life. Two main characters were holding on to life, in a loop-like setting. Despite the desperation of the situation, they were carrying on almost mechanically or instinctively to survive. The horse was everything for a living and when the horse was no longer, the universe would fall apart.

    Special thanks to the director and the ones who financially supported this piece because it is one of rare films with originality value. And a comment for Ms. Alvarez's review, with respect to his opinion, it is clearly a flaw, his generalizing his point of view to majority of the audience in that theater. And where else audiences be able to see such films if not even at film festivals. If there are people seeing this movie as a torture they are always free to leave the theater.

    While the director humbly accepts the existence of second opinions, why some audiences can't?
    10MartinTeller

    Brilliant final(?) film for Tarr

    I can't organize my thoughts so I'm just going to spill them out and sort them out some other time. Although it is a shame (a tragedy) that Bela Tarr will make no more films after this, but perhaps it is a fitting end. A farmer (we assume... he has a horse but it's unclear exactly how he makes a living, if he does at all) and his daughter trudge joylessly through their monotonous routine. Getting dressed, schlepping water from the well, eating a meal of simply boiled potatoes, and for relaxation, staring out the window. Over the course of 6 days, we see -- in a manner mildly reminiscent of JEANNE DIELMAN -- the routine start to break down as some sort of vague apocalypse seems to be descending upon them. Life, what little is left of it, is draining out of the world. A neighbor delivers a monologue about the degradation of humanity, how the good people have quietly faded away while the rest debase everything they touch. A wandering pack of gypsies leaves the daughter ("eyes of the devil") a religious text. Is it these two particular people who are doomed, or being judged? Or all of mankind? Tarr, as usual, not only doesn't give answers, he doesn't even let you know if he's asking the question.

    Which is to say, 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. From the opening shot of the horse defining the word "struggle", to Ohlsdorfer's sunken, skull-like eyes, to the spine-chilling image of the daughter's beaten-down face staring out the window, the film is loaded with stark, gorgeous, unforgettable visions. Mihaly Vig once again submits an incredible score, a funereal dirge that 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.

    It's a haunting film, and perhaps Tarr's most difficult... although only a third the length of SATANTANGO, the repetitiveness gives it less forward momentum. But it completely worked its way under my skin. It's mesmerizing, thought-provoking, breathtaking. If Tarr makes another film, I'll be thrilled, but if he doesn't, at least he's left me some of the greatest works of art I've ever seen.
    7oOgiandujaOo_and_Eddy_Merckx

    Highly oblique existentialist parable

    Tarr's self-proclaimed last film is as open to interpretation as any movie ever was. The film follows a man, his daughter, and their horse as they struggle to survive during hard times in the late nineteenth century. It's a simple, practically minimalist movie with all the repetition that aesthetic implies, gradually coming to a crescendo that's somewhat reminiscent on a small scale of the disharmony the develops in a previous film, Werckmeister Harmonies.

    The idea for the movie came from an apocryphal story (Tarr doesn't label it as such) about Nietzsche's time in Turin, which relates how the philosopher broke down upon witnessing a carriage driver whip his horse. The filmmakers were interested to look at what happened next for the horse. They also see the incident as representing a sincere recantation of all his works by the philosopher (or heavily imply so). One can apprehend from listening to Tarr that he believes Nietzsche was little more than a psychotic, responsible for promulgating a decline in values. The film depicts such a decline, though any actual link to Nietzsche other than by free association and any substantive intellectual link to the Turin episode are tenuous at best.

    Tarr announced in the Q&A following the UK Premiere of Turin Horse at the Edinburgh International Film Festvial, that he felt "something's wrong", in a grand sense. The Turin Horse reflects this concern. What exactly is wrong is left almost entirely up to you as the viewer to determine. There's one clear allusion to watching television, but other than that the symptomatology and etiology of modern malaise is open to question. You could say that was a weakness of the movie, someone who believes that free migration and rights for gays are the cause for societal decay, would be equally at home watching this movie as someone who points towards revolutions in social media and the society of spectacle.

    Patricularly given that no root cause is identified, Tarr and co leave themselves open to charges of the familiar canard of archaism - supposing that the past was a safer more moral and ingenious place. The artist Jeff Koons has perhaps the best counterarguments to Tarr's perspective on modern life. His stated mission is to "remove bourgeois guilt and shame in responding to banality" (highlighting the snobbery of those who cling to traditional values), whereas Tarr's is perhaps to stoke it. I suppose what side you take depends on whether you see someone fragging on a PlayStation and think "good for them", or whether you bemoan their lack of appetite for self-improvement or meaningful interaction with others. In the Q&A at the Edinburgh Film Festival Tarr said that he thinks that people spend too much time stuck in front of screens waiting forlornly for something to happen, part of a sort of technological cargo cult if you will.

    On a gut level I felt the film went quickly; although empirically it's well over two hours long, it's definitely mesmerising. I've felt for a time that the best way to appreciate Werckmeister Harmonies is as narrative music, as a kind of prelude and fugue, similarly The Turin Horse works well simply in terms of rhythm and visual tone, as a meaningless sketch of the interaction of three hardy entities.

    Más del estilo

    Armonías de Werckmeister
    7,9
    Armonías de Werckmeister
    Sátántangó
    8,2
    Sátántangó
    La condena
    7,6
    La condena
    El hombre de Londres
    7,0
    El hombre de Londres
    Öszi almanach
    7,1
    Öszi almanach
    Sacrificio
    7,9
    Sacrificio
    Missing People
    7,3
    Missing People
    Nostalgia
    7,9
    Nostalgia
    Muhamed
    8,2
    Muhamed
    El espejo
    7,9
    El espejo
    Nido familiar
    7,2
    Nido familiar
    La infancia de Iván
    8,0
    La infancia de Iván

    Intereses relacionados

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    Drama psicológico
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    Tragedia
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    Drama

    Argumento

    Editar

    ¿Sabías que...?

    Editar
    • Curiosidades
      The movie consists of only thirty shots.
    • Citas

      Bernhard: Everything's in ruins, everything's been degraded, but I could say that they've ruined and degraded everything, because this is not some kind of cataclysm coming about with so-called "innocent" human aid; on the contrary, it's about man's own judgment over his own self, which of course God has a big hand in, or, dare I say, takes part in, and whatever he takes part in is the most ghastly creation that you can imagine, because, you see, the world has been debased, so it doesn't matter what I say because everything has been debased that they've acquired and since they've acquired everything in a sneaky, underhanded fight, they've debased everything, because whatever they touch, and they touch everything, they've debased; this is the way it was until the final victory, until the triumphant end; acquire, debase, debase, acquire; or I can put it differently if you'd like, to touch, debase and thereby acquire, or touch, acquire and thereby debase; it's been going on like this for centuries, on, on and on; this and only this, sometimes on the sly, sometimes rudely, sometimes gently, sometimes brutally, but it has been going on and on; yet only in one way; like a rat attacks from ambush; because for this perfect victory it was also essential that the other side, that is, everything's that's excellent, great in some way and noble, should not engage in any kind of fight, there shouldn't be any kind of struggle, just the sudden disappearance of one side meaning the disappearing of the excellent, the great, the noble, so that by now the winners who have won by attacking from ambush rule the earth and there isn't a single tiny nook where one can hide something from them because everything they can lay their hands on is theirs, even things that they can't reach but they do reach are also theirs; the heavens are already theirs and theirs are all our dreams; theirs is the moment, nature, infinite silence; even immortality is theirs, you understand?; everything, everything is lost forever, and those many nobles, great and excellent just stood there, if I can put it that way; they stopped at this point and had to understand and had to accept that there is neither God nor gods, and the excellent, the great and the noble had to understand and accept this right from the beginning, but, of course, they were quite incapable of understanding it, they believed it and accepted it but they didn't understand it; they just stood there, bewildered but not resigned until something, that flash on the mind, finally enlightened them, and all at once they realized that there is neither God nor gods; all at once they saw that there is neither good nor bad; then they saw and understood that if this was so then they themselves did not exist either; you see, I reckon this may have been the moment when we can say that they were extinguished, they burnt out; extinguished and burnt out like the fire left to smolder in the meadow; one was the constant loser, the other was the constant victor; defeat, victory, defeat, victory; and one day, here in the neighborhood I had to realize and I did realize that I was mistaken, I was truly mistaken when I thought that there had never been and could never be any kind of change here on earth; because, believe me, I know now that this change has indeed taken place.

    • Conexiones
      Referenced in Paul Schrader on Revisiting Transcendental Style in Film (2017)

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    Preguntas frecuentes20

    • How long is The Turin Horse?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 31 de marzo de 2011 (Hungría)
    • Países de origen
      • Hungría
      • Francia
      • Alemania
      • Suiza
    • Sitios oficiales
      • Facebook
      • Official site (Japan)
    • Idiomas
      • Húngaro
      • Alemán
    • Títulos en diferentes países
      • El cavall de Torí
    • Localizaciones del rodaje
      • Hungría
    • Empresas productoras
      • TT Filmmûhely
      • MPM Film
      • Vega Film
    • Ver más compañías en los créditos en IMDbPro

    Taquilla

    Editar
    • Recaudación en Estados Unidos y Canadá
      • 56.391 US$
    • Fin de semana de estreno en EE. UU. y Canadá
      • 9145 US$
      • 12 feb 2012
    • Recaudación en todo el mundo
      • 162.088 US$
    Ver información detallada de taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Duración
      • 2h 35min(155 min)
    • Color
      • Black and White
    • Mezcla de sonido
      • Dolby Digital
    • Relación de aspecto
      • 1.66 : 1

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