In this study, the use of cinematography in Béla Tarr’s film The Turin Horse (A torinói ló, 2011) has been examined within the framework of Daniel Frampton’s film-philosophy approach, known as Filmosophy. As part of this analysis, selected scenes have been analyzed to investigate how the cinematic elements employed in the film are transformed by the film-mind into film-thought, and how this transformation contributes to the film’s philosophical dimension.

The analysis reveals that the most prominent cinematic strategy in the film is Tarr’s use of long takes and recurring images to reflect the temporal structure inherent in Nietzsche’s concept of “eternal recurrence.” Through this stylistic choice, Tarr achieves a cinematic imagery that aligns with what Deleuze defines as the “crystal-image,” creating a temporal experience in the film-world where the past, present, and future intertwine, departing from the linear flow of chronological time. Consequently, Tarr effectively projects Nietzsche’s concept of eternal recurrence into the film through cinematic elements, establishing a philosophical space of inquiry via the film-mind.

Within the film’s narrative, the characters of the coachman Ohlsdorfer and his daughter, situated in an apocalyptic world, persist in their struggle for existence despite diminishing resources and the relentless storm outside their cabin. These characters, through their actions, reflect humanity’s endless struggle against nature as portrayed within the film-world. In this context, the characters embody Nietzsche’s concept of the “will to power” as a fundamental affirmation of life. The daughter’s repeated act of drawing water from the well despite the storm serves as a manifestation of amor fati (loving one’s fate and saying ‘yes’ to life) and the will to power directed toward nature. Through the character of the daughter, the film-mind contemplates Nietzsche’s concept of the will to power. By employing moving camera techniques and extended long takes, the film vividly captures the daughter’s routine of drawing water amidst the violent storm, effectively reflecting her inner will to power.

Moreover, the characters symbolize the human condition in a world that, following Nietzsche’s proclamation of the “death of god,” is deprived of any divine power that might halt the destructive flow of time. Thus, the film-mind reflects on and visualizes the idea that time is not merely a passing phenomenon but, rather, a destructive force that condemns humanity to eternal suffering. The use of expressionist lighting and the choice of black-and-white negative film are also identified as key cinematic strategies contributing to the film’s dark and unsettling atmosphere. The diminishing light throughout the film is employed as an allegory of life itself, symbolizing the human descent into darkness and helplessness in the face of time’s destructive power, following the “death of god,” within the framework of the film-mind. 

The study identifies that, through these cinematic choices, Tarr departs from classical narrative structures. Unlike conventional narrative cinema, Tarr employs long takes, minimal camera movements, and sparse dialogue, guiding the viewer toward a profound philosophical inquiry centered on Nietzschean concepts. By integrating these cinematic elements, Tarr unites both realistic and poetic/lyrical qualities within the same filmic experience. While Tarr’s long takes offer a “realist” aesthetic consistent with Bazin’s theory of “deep focus,” the poetic and surreal construction of the cinematic world simultaneously echoes the tradition of avant-garde filmmakers. 

In contrast to the fast-paced editing and narrative continuity characteristic of classical cinema, Tarr’s distinctive approach presents time and space with a unique rhythm, inviting viewers into a cinematic language that emphasizes the internal dimension of events, evoking existential solitude and philosophical reflection through its poetic expression. This article explicates this original formal structure by analyzing selected scenes from the film. The findings reveal that Tarr deliberately distances himself from the formal conventions of classical narrative cinema in The Turin Horse. Through the use of long takes, minimal camera movements, and sparse dialogue, Tarr transforms the viewer from a passive recipient of narrative into an active participant engaged in philosophical reflection on Nietzsche’s concepts through film-thought. In this regard, The Turin Horse stands as a compelling example of Frampton’s claim that films can engage in philosophy in their own distinctive ways. Tarr, by employing cinematic elements in a deliberate and creative manner, demonstrates his position as an auteur who activates the practice of film-thinking and positions cinema as an original medium for philosophical inquiry.