A Torinói ló

1889 schritt in Turin der Philosoph Friedrich Nietzsche vor seiner Wohnung gegen einen Kutscher ein, der auf sein Pferd einschlug. Dies war die letzte Tat Nietzsches, bevor er dem Wahnsinn verfiel. Regisseur Béla Tarr interessiert sich jedoch nicht für den Philosophen, sondern für das Pferd, über dessen Verbleib nichts bekannt ist. „Der Film porträtiert die Sterblichkeit, diesen tiefen Schmerz, den wir zum Tode Verurteilten alle fühlen.“ (Béla Tarr)

In Turin in 1889, Friedrich Nietzsche flings his arms around an exhausted carriage horse, then loses consciousness and his mind. “Our film follows up this question: What did in fact happen to the horse? Ohlsdorfer, the carter, and his daughter live out their lives on their farmstead. They subsist on hard work: their only source of income is the horse and cart – that’s what they live on. The father takes on carting jobs, his daughter takes care of the household. It’s a very meagre life and infinitely monotonous. Their practiced movements and the changes in seasons and times of day dictate the rhythm and routine which is cruelly inflicted on them. The film portrays mortality, with that deep pain which we, who are under sentence of death, all feel.” (Béla Tarr)