Aydin, a former actor, runs a small hotel in central Anatolia with his young wife Nihal with whom he has a stormy relationship and his sister Necla who is suffering from her recent divorce. In winter as the snow begins to fall, the hotel turns into an inescapable place that fuels their animosities.
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I dare say I got the best out of the viewing experience thanks to the many times I paused it to reread the subs.The weighty dialogue (that somehow managed to feel both natural and poetic) contain the key elements in this brilliant analysis of the attitudes and circumstances that produce modern-day feudalism, in spite of the people's desire to act humanely and preserve their dignity. The ending took my breath away.
I believe that in this film, where we don't actually have enough information to know the characters and their intentions, we learn a lot about ourselves and our own intentions. In deep conversations, where different people share completely different ideas, we finally have the opportunity to see through the human kind. That's the beauty about this film: you can't see them because you see yourself. Impressive!
Winter Sleep must have the most muted Palme d'Or response in years. Boonmee and Tree of Life were greeted with cinephile hallelujahs, and Amour and Blue at least got people arguing. Ceylan's Palme seemed almost like a given after all these years. Winter Sleep is neither his best nor his worst, but is beautiful, charitable, literate, longer than necessary, and a sign he loves Bergman at least as much as Tarkovsky.
The film made you feel the tension, boredom, and frustration of it's characters before delivering the moments of drama, intensity and beauty. If it was shorter, it wouldn't have worked. It's a subtle, clever, but somewhat demanding movie. Fabulous IMO, even though my bum hurt.
Sit down with Mr.Aydin ; the pragmatic and enigmatic hotel owner/writer/retired actor, at his home of rural turkish step0pe. Follow him trough series of humble, yet heartwarming and passionate debate about morals, virtue, philosophy, old-life, etc. And each of these debate with his loved ones draws us closer to understand "who is Mr.Aydin? and what makes him so unbearably loveable and amazingly hated.
Impossible not to think about Asghar Farhadi's cinema in this great work of talkative piece of art. Intelligent writing, fascinating dialogs, subtle and fine evolution, great and strong characters. Touching and brilliant.
New empiricism in European cinema is a sympton of regression, a fatigued clinging to sociocultural paradigms in which even critical allusions come of as clinical. When did European art paused its growth to look at the idea of morality, mistaking its audiences for communities? Its shadow no longer hides its weaknesses, on the contrary, it trumpets them by finding courage in fear and pride in humility. It's pathetic. ↓
Conflicted by this film. Ambitious, Chekovian character study of an hubristic former actor turned landlord & businessman. Hypnotic pacing keeps you watching for the 3hrs 15min duration - but the feeling persists that we've been here before: privileged voices pontificate on evil & morals & justice from warm fed drawing rooms while outside the world burns. & not convinced by his epiphany. A kind of Turkish 'Scrooge'