{Black. White. Silver. Beauty. Seven velvety stills from The Turin Horse. "The film portrays mortality, with that deep pain which we, who are under sentence of death, all feel" Béla Tarr}
Normally, my films don’t have a message. The camera is an observer that captures the atmosphere of a moment and reacts to life. I don't want to give the audience a message, I want to show it my image of the world. The camera has an objective point of view, I can only show you reality. Cinema is not like literature: It shows you only what is in front of the lense. You can't fake it.
It is not my job to write about films. I am happy if somebody likes my films. If someone doesn't, I have to accept it. I don't want to dictate or influence any critics. My job is done when the light is switched back on after the movie. Afterwards, everyone should relate to it through his own way.
(Béla Tarr in an interview conducted by Konstanty Kuzma)
+ Béla Tarr’s The Turin Horse (A Torinói Loi, 2010)
+ Interview | The Thinking Image: Fred Kelemen on Béla Tarr and The Turin Horse
The Turin Horse was one of the films I was most looking forward to seeing at this year’s festival and it was all I’d hoped (screening mishap and lighting blunder at the Forum aside). Brilliant and beautiful. For me it shone like the precious shiny grayish-white metal of silver.
