Weakest point of NBC filmography, excluding Climates. Unconvincing acting and dialogue, a poorly borrowed cinematographic discourse, a plot line that does not come along by any means and a random directorial decision to have talkative protagonists. Instead of making you feel anything, it just makes you wonder how on earth Jane Campion and Co. could pick this as the front runner of a pretty strong Cannes line up.
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.
A tense and sympathetic psychological study of existential authenticity set among the barren hills of Cappadocia where the first Eastern Orthodox ascetics once lived. Themes of isolation, honesty, integrity, cognitive dissonance, the attempt to contrive a faith from human values and relationships in the absence of communal and religious value systems, and so on, make for an impressive, compelling, and believable film
Nuri Blige Ceylan ist zweifellos ein Weltklasse-Regisseur, aber er steigert sich nicht von Film zu Film, so wie viele behaupten. Ich finde, dass er auch vor über zehn Jahren schon Weltklasse war! Winter Sleep dauert über drei Stunden und man mag etwas Über-Ambitioniertes erwarten... die ganze Rezension sowie die wichtigsten türkischen Arthaus Filme findest du auf cinegeek.de
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. ↓
Whether or not with hints to Shakespeare's 'Othello' or to Chekov's dialogue driven & emotional works; it doesn't help. This is a 3 hrs theatre-play-movie-monster with very little "beef" in it. You could easily cut-off the 1st 50% of it, without disturbing anything. Because, bottom-line, it is a story about unhappiness & marriage (which unfolds in the 2nd half) & how the protagonists deal with it. Unlikable. Boring.
I prefer Ceylan's earlier work...it had more immediacy, poignancy, and authenticity. This felt indulgently overlong, vague, yet ambitious in exactly the wrong way--a lot of ideas got tossed around without any real commitment. Bergman already covered these character types and their personal and social conflicts a lot better long ago. And Bresson, well, he did all this in a more confrontational and deadlier way.
Cet automne d'un homme, dans le huis-clos des confessions de l'âge, prend le temps de développer son propos pour nous offrir un regard complexe sur ses contradictions et ses renoncements. Intéressant et fascinant si on s'y laisse glisser, mais très long et intellectualisant si on y réfléchit. Un film de riches...