Winter Sleep (2014) User Reviews

Ceylan's Best Film for Several Years Exposes the Superficialities of Modern Life

[l_rawjalaurence · 9/10 · 14 June 2014]

Set in Cappadochia, central Anatolia, WINTER SLEEP (KIS UYKUSU) focuses on the life of Aydın (Haluk Bilginer) a retired actor who now runs the Hotel Othello. The name is significant, as it reveals his true preoccupation with performance, a trait reinforced by the framed bills on his study wall. With plenty of family money at his disposal he has no need to work, but that does not stop him from screwing every penny out of his tenants with the help of his henchperson Hidayet (Ayberk Pekcan). Although perpetually drawing attention to his poor background and unhappy childhood, it's clear that Aydın's life revolves totally around himself; and that the only way he can salve his conscience is to make charitable donations, preferably anonymously.

With KIŞ UYKUSU we are back on thematic territory that director Nuri Bilge Ceylan previously explored in KASABA. He readily acknowledges Chekhov as an inspiration for creating a world where no one has much to do except talk to one another. Aydın busies himself with a variety of tasks, including writing a column for the local newspaper and writing a book on the history of the Turkish theater. His sister Necla (Demet Akbağ) spends much of her time lolling on the sofa and wondering whether she should forgive her ex-husband for an unhappy marriage. Aydın's wife Nihal (Melissa Sözen) is equally indolent; her sole aim in life seems to be to chair a committee of prosperous locals dedicated to raising money for the local school.

Stylistically speaking KIŞ UYKUSU is slightly different from Ceylan's earlier work; there are fewer reflective sequences designed to prompt reflection on the landscape and the elements, and more face-to-face confrontations between the protagonists. They emphasize the basic emptiness of their lives, as they have nothing to but talk and talk, in contrast to their tenants - for example the local imam Hamdi (Serhat Kılıç) who wonders about taking a second job so as to make ends meet. On the other hand these lengthy conversations draw attention to the protagonists' love of surfaces; unable (or unwilling) to engage with life's realities, they would rather talk at rather than with one another.

The unbelievable landscapes of Cappadochia in winter, with its fairy chimneys and unspoiled Anatolian terrain, offers a point of contrast to the characters' musings. While they spend their time both literally and mentally imprisoned within Aydın's hotel, the landscape offers a reminder of timeless virtues, as well as the fact that nature continues to flourish in spite of humanity's best attempts to destroy it.

The film comes to a climactic conclusion when Ceylan brings the indolent characters into contact with those forced to eke out an existence in harsh conditions. Nihal offers a financial gift to Hamdi's family; but fails to understand how such an act of apparent goodwill represents the ultimate insult. As Hamdi's brother İsmail (Nejat İsler) contends, it is nothing more than conscience money to atone for the fact that Aydın's family were responsible for causing İsmail's son Ilyas's (Emirhan Doruktutan's) pneumonia earlier on in the film. Meanwhile Aydın discovers to his cost that the local educator Levent (Nadir Sarıbacak) has a jaundiced view of all wealthy philanthropists.

Yet such experiences do not lead to any form of redemption. The film ends with Aydın and Nihal sitting morosely in their deserted hotel, looking out of the window at the snow-covered vista beyond, imprisoned by their lack of perception.

This film won the Palme d'Or at Cannes; it deserves every success. A modern classic.

Desolate & Bleak...

[Xstal · 8/10 · 16 June 2020]

... like the Anatolian weather, mimicking the lives of a businessman's younger wife, his sister and some defaulting tenants who live close by while he, in the fashion of middle aged men the world over, continues with his blinkered, unchanging view of life - but at what cost?

An atmosphere of sadness, doubt and loneliness

[denis-23791 · 8/10 · 20 July 2020]

A long theatrical play of dialogue and moods, thoughts and reflections, the absence of love or purpose, mixed with unchallenged and unsolved social inequalities, all placed into beautiful shots amid an astonishing natural environment. Very well played, with an almost unbearable iceberg of surpressed emotions and intellectually justified lack of action. Thought-provoking and emotionally touching, even if in a disturbing way.

Bleak, Deep, Intelligent... Bergmanian...

[ElMaruecan82 · 9/10 · 31 October 2020]

I didn't know what to expect from Nuri Bilge Ceylan's "Winter Sleep", but the title gave me the right hint. I could feel some introspective vibes from that title that sounded like Ingmar Bergman's "Winter Light". That the film ran over three hours did scare me a little, I dreaded the borefest but as soon as it started I knew the guide to my journey would be a competent filmmaker who wouldn't indulge into narrative tricks to entertain me. This is a serious and deep movie, that never feels too long or wordy and that can't be labeled as pretentious because it questions and even mocks that elitist pretension.

Aydin (Haluk Bilginer) could be the alter-ego of Ceylan, a former actor owning a mountaintop hotel in Anatolia, which is far from the tourism-friendly archetypes associated to Turkey. Don't expect a sunny sky and shades of blue from the Mediterranean sea, we are in a place that is dominated by the natural elements, where urban turmoils have no bearing whatsoever on the inhabitants. It's not exoticism but escapism as those who live here are either too poor to move out or voluntarily exiled themselves from the city, out of an urge to find some inner peace or to fulfill some projects, others are just letting their soul hibernating, hoping for sunnier tomorrows.

But isolation can either bring the best or the worst and where Aydin finds inspiration to the columns he writes and his procrastinated project of writing a memoir on Turkish theatre, his younger wife Nihar (Melissa Sozen) and his sister Necla (Demet Akbag) find boredom and desperately look for any possible loophole that can guide them into an oasis of meaning, even artificial. That's the paradox of people trapped together with each one going in one direction, at the end you're estranged to the closest ones. The general idea might sound too pompous but it is handled through powerful conversations where one snarky remark can snowball into more devastating and hurtful comments, revealing the characters' deepest secrets and insecurities.

Aydin is a man who never refuses dialogues, he cares about people and is generally ready to listen. But within his own intellectual certitudes, he passes as an arrogant man, incapable to understand the little people, whereas the tenants of the residences he owns, people who live in religion (while he's the educated and open-minded) and with time both his sister and wife also feel belittled. Though Aydin does nothing offensive and insulting, it's all in his attitude, something that is only partially betrayed through little patronizing thoughts he shares here and there or hides behind his eloquence.

But I make it sound as if the film doesn't deal with a story, there are events that break the relative monotony. A kid throws a rock on Aydin's jeep, he's the son of Ismail, a man who's been put in jail and whose belongings were confiscated by money collectors (umbeknownst to Aydin). Ismael (Nejat Isler with his piercing eyes) reminded me of the lower-class husband in the Iranian film "A Separation", a man incapable to feel empathy toward upper class people no matter how well-intentioned they are. He's a prisoner of his own prejudices and unlike his brother, the local imam, finds refuge in alcohol rather than religion. The brother (Serhat Mustafa Kiliç) constantly sugarcoats his words with syrupy politeness and an exaggerated smile that reinforces Aydin's perception of religious people as hypocrites and bigots.

But in one of the most powerful scenes of the film, the sister blames Aydin for being hypocritical too, and judgmental, he condemns people of religion while having never set a food in a mosque and dilutes his frustration in a vain desire to please some fans. It escalates to the point that Aydin as a defensive mechanism insults her, calling her an eternal malcontent venting her post-divorce anger. Later, a similar conversation occurs when he accuses his wife of being too naïve with her fundraising projects and criticizing her lack of bookkeeping skills. Aydin can't realize that this is less a project than an opportunity to give her life a meaning. But we know a bad guy he's not and "Winter Sleep" is only the chronicle of isolation and how it makes people drive people into spinning in their own private areas, so much privacy that even when people discuss, you never see them in the same frames, an interesting trick conveying a double isolation.

It's an existential condition that Aydin disregards as a luxury, real people have no time for such foolishness; during winter, they have to think of fire, school, food, even hunting. The film takes us to one scene to another where all is up to us is to listen to these people, to their ideas, their perceptions, an inebriated dinner leads a man to quote "Richard III" and rejects conscience as a trick used by cowards. In a parallel scene, when Nihar offers money to Ismail's brother out of guilt-stricken charity, Ismail acts as if her good conscience meant absolutely nothing to him. The film shows the eternal gaps between people who can afford thinking and some who can only resign themselves for better or worse, an imam, an alcoholic or a widower who tolerates adversity.

Another conversation has the women talk about how we can fight evil by letting him act and see if it can self-destruct, Aydin rejects the idea without realizing that it's the exact way people behave, by surrendering to their own demons while others just let the flow of life drown them and don't bother fighting it. It's easier to deal with the evil that governs us than whatever belongs to the other. And that the most meaningful and humbles words are spoken in voice-over makes the ending bittersweet and frustrating, but so relatable. For a film so rich in communication, it's rather infuriating that a few people really communicate.

Powerful winter sleep

[TheLittleSongbird · 10/10 · 28 April 2023]

Have for a long time absolutely loved foreign language films, with 'Pan's Labyrinth' and 'A Very Long Engagement' making major impressions on me in school (and they are still favourites). Have actually seen very few Turkish films, but watched 'Winter Sleep' because of trusted friends raving over it and also the critical acclaim. With many recently seen highly regarded films being from my experience as great as said, expectations were high. The idea of the film also fascinated me.

'Winter Sleep' did not disappoint at all. Actually thought it one of the best films seen by me in a long time. The film is indeed long at nearly three and a half hours, but that didn't bother me. Having seen plenty of films with long lengths, some even longer, that still transfixed. It is indeed talk heavy, which is not always a good thing to me, depending on how good the talk is and how much is necessary. And it is indeed slow, or should we say deliberately, paced, but in my experience slow paced does not immediately equal bad (some of the best and most influential films ever made are slow).

Everything works. The scenery is absolutely breath taking, suitably bleak in parts but also hauntingly beautiful and atmosphere filled. The photography is quite stunning as well, really appreciated that there weren't any dizzying camera angles, fast cuts or slow motion, it is instead kept still and simple but is absolutely beautiful in that. It really makes the atmosphere speak for itself. The music is only used when necessary, but when it is used it is haunting and suitably melancholic.

The film is superbly scripted, as said it is heavy in talk. But it is truly thought provoking and powerful talk and all of it felt necessary and added a lot to the complexity of the characters. The story never felt dull and it didn't feel over-stretched either, it is not one of those films that tries to do too much narratively and takes its time to build but it really succeeds in making the tough, sensitive subject and themes bleakly uncompromising yet moving, making the intimacy of some of the storytelling really come to life emotionally and giving meat to the characters. The long length for me actually flew by.

Moreover, the lead character is not easy to get behind to begin with, but he does grow the more he understands what is going on around him, what his conflicts are doing to others and the more his motivations are understood. The film is sublimely acted, with Haluk Bilginer giving one of the best and most complex performances of the year that should have gotten more award recognition.

Summing up, absolutely wonderful. 10/10.

A masterpiece from one of the greatest film makers of our time

[Seyirci · 10/10 · 20 June 2014]

Winter Sleep is a masterpiece by Nuri Bilge Ceylan, a film shining with literary eloquence and incisive social criticism.

Aydin ("intellectual" in Turkish) is a failed former actor, now a hotel owner with sufficient inheritance to make him command the stage as a condescending "king" of a village in Cappadocia. He feels licensed to instruct, intrude and judge, not only on his pitiable tenants, but also on his disaffected young wife Nihal and divorced self-doubting sister Necla. This sentiment ostensibly extends to poor, uneducated and religious classes of the country, making Aydin a stereotype of the Turkish elite. The brutal taming of the horse is an allegory of his marriage; young and pretty Nihal is just another decorative item in his life, not an individual with her own rights and pursuits. Aydin also epitomizes a male-dominated society, cutting across levels of education and affluence.

A glimmer of hope comes with a stone breaking the glass. While ruthlessly and decisively able to overpower everyone else in his reign, Aydin is disturbingly challenged by a stubborn 10 year-old boy Ilyas (Arabic equivalent of Elijah, a harbinger of the Messiah).

Putting the lens on the perpetually pretending psyche of the western-styled intellectual, Winter Sleep portrays the Turkish nation struggling between the East and the West. Aydin claims to have ideals and ideas but has no intention to make a difference for the good, does not even attempt to empathize with his fellow citizens. His articulate quote from Shakespeare echoes a confession.

It's no coincidence that Nuri Bilge Ceylan was charmed by Chekhov, a like-minded author from yet another nation torn between civilizations.

Hats off to 2014 Palme d'Or judges for their audacity. By recognizing the value of Ceylan's work, they have enticed global audiences to risk 3 hours 16 minutes of their time to a non-commercial film, a feast of cinematography and acting bundled with literary gratification.

remarkable in every aspect

[gerard_chaouat · 10/10 · 17 June 2014]

I had the chance to see tonight this movie in "Positif" (a french, highly rated, cinema review) "avant Première". When I made the usual reservation for Positif readers/ subscriber, the reservation told me (and it is listed in the invitation) "we remind you that this movie lasts 3h and 16 minutes....". Unusual....

I was aware of that, but , as Michel Ciment pointed out, in his introduction, there are 1h 30 minutes movies which seem to last 4 hours....

and here, "on ne voit pas le temps passer" un-consciously used the title of a song by Jean Ferrat).

And, indeed, this is true. Very few "important" events happen in the film, but the degradation of the relation between the two main characters takes place little step by little step, and each dialogue is captivating, while the cast (all the cast) is wonderfully playing. Some scenes are surprising by their underneath violence (how a gift turns out to be an insult , and how the outrage is returned, is a flabbergasting sequence) The location in Anatolia, the winter atmosphere, and the remarkable photography adds a piece of charm to the film. At the end, you will remember that it all started by a little stone thrown at a car.... and wonder how you were so much immediately entrapped by the intrigue, so much that it could have lasted as long as the mother and the whore, another lengthy movie, you would not have complained.

I do not want to spoil you by describing the plot, but it brings so many reflections about society, aging of a relationship, and a couple, that ... you will want to see it again (which I will certainly do when it is theater released in August). It is an absolute masterpiece, and likely the best film of the decade......(and of course Ceylon best so fat) Go to see it !

A rich portrait of interpersonal tensions and emotional sufferings

[hu-zhang · 8/10 · 19 January 2015]

Mr Nuri Bilge Ceylan had made adventurous efforts in his movie "Winter Sleep". Rewardingly, Palme d'Or Awards was passed onto his hands in 2014. A stunning feature of this movie was the eloquence of major characters. Because of this distinct feature, the audiences need feel comfortable to catch up with a large amount of intellectual debates and accusative questionings between the characters, in order to tap into the characters' inner worlds.

During three hours and sixteen minutes, a rich and deep portrait of various emotional sufferings are gradually unfolded. The audiences are exposed to intense conflicts between the rich and the poor, a complacent brother and his critical divorcée sister, an egoistic husband and an unhappy young wife and also a naive philanthropist and a resentful villager. Also, there are explosions and accumulations of negative emotional outbursts such as distrust, prejudice, loneliness, fear, suffocation, delusion, cynicism, hopelessness and hatred.

While viewing these interpersonal tensions and emotional despairs, it seems to me that our characters were all wearing shackles which had stopped them from finding their true inner strength. For Aydin, the shackle was his distrust and emotional rigidity. For Necla, it was her disapproving attitude and reluctance to change. For Nihal, it was her pessimistic view of her future. For Hamdi, it was his deeply-rooted shame and hatred towards the rich. For Hamid's little son Ilysa, it was his inability to fight against social unfairness. For Hamdi's bother Ismail, it was his involuntary submissiveness and unresisting. And perhaps due to these emotional scars, they all felt deprived of freedom and thus pushed each other into corners in order to feel justified.

Mr Nuri Bilge Ceylan opened an abundance of philosophical discussions in this movie. Seemingly he was unwilling to provide effective solution to ease any of these social and interpersonal tensions depicted in the movie. Nevertheless, Mr Ceylan did examine Aydin's self-revelation after he clashed with his sister Necla and his wife Nihal. When Aydin's false ego was badly stricken, the loneliness and pain in Aydin's heart must have been unbearably agonizing. From that moment, the movie started to openly unveil Aydin's vulnerabilities. He contemplated at his parents' graveyard. His messy hair was flying nowhere in the snow, looking terribly sad. When he showed genuine care to the young motorcyclist, that warmth didn't returned back to him. The releasing of a wild horse back to Anatolia steppe could indicate his longing to loosen his own rigidity and forceful mind. While waiting for his run-away train to Istanbul, he frankly demanded the company of his assistance Hidayet. He paid attention to a dead fox lying beside the rails in the snow and even checked birds of prey on the nearby tree. He watched the dying rabbit pitifully during hunting. At the end of the movie, Aydin admitted to himself that he was unable to live through life without Nihal. At this point, when Aydin acknowledged his emotional vulnerabilities, it appeared that he regained his peace and order, and even kicked off his long-term writing project on "the History of Turkish Theatre". Aydin perhaps realized that he no longer needed to be the superior one who was emotionally distant to people and himself, who felt like a king by being a columnist in his imaged kingdom, who loved his own civilized manner to contrast others'clumsiness, who was relying on rigidity to feel strong…

Overall, this is a thought-provoking movie, managed by a master director and performed by impeccable cast. I would love to watch this movie again after a few years, as I wish to comprehend more of its richness and depth when life rewards me with more personal experiences.

Felt like reading Dostoyevsky

[saitcosar · 8/10 · 18 August 2015]

I read some reviews below and ı am surprised. people say that conversations are meanless and long etc... This kind of criticism and comments make no sense. This is not a Hollywood movie which characters say everything directly just because films like these are making for teenage minded people. I mean sometimes you can not say what you want to. sometimes you use long path to home... moreover dialogs are serving the philosophy of movie. This movie is the best of Nuri Bilge's, about ego and contrasts between arrogance-virtue. You can also thing about your attitudes, this film makes you to do so. Main characters's (Aydin) last words are impressive, with these words film having a emotional and touching side. A good movie for people who like thinking about themselves

Great movie

[mutantdani · 6/10 · 30 May 2020]

I really love the style and slow progression and deep of the themes. The every day nature becomes a masterpiece. Great acting, classic and real. However, it has moments where it becomes too long and boring and it doesn't reveal as the great masterpiece that it could be. All in all, a recommended movie and awesome work of the director and team.

A Masterpiece

[paulscofield68 · 10/10 · 25 January 2015]

Since I saw Uzak (Distant, his first film) years ago and enjoyed it immensely, I've made a point of seeing every film Nuri Bilge Ceylan makes. Unfortunately, his esteem in my mind was gradually fading while others, like the Russian Andrey Zvyagintsev's were rising, his Leviathan is an excellent film. With Winter Sleep, though, Ceylan has made a masterpiece- easily his finest film, and I am in awe of his talent. To make a film that is a character study of a small hotel owner's life at its twilight into such a profound meditation on so many themes...pure genius! And to learn that this movie didn't get nominated for an Academy Award...fortunately the French awarded it top prize at Cannes. It's better than Ida and Leviathan (though Leviathan is a powerful, important film). Extremely well acted; beautifully filmed. The power, though, is in the dialogues...rare the emotional and intellectual intelligence on display here. An absolute must-see for fans of art-house foreign language cinema.

One Of The Most Engrossing, Mesmerizing & Satisfying Films Of 2014

[CinemaClown · 14 February 2015]

Winner of the prestigious Palme d'Or at 2014 Cannes Film Festival, Winter Sleep arrives with high expectations but succeeds amazingly well in living up to its new-found honour for this Turkish drama is simply one of the most engrossing, mesmerizing & satisfying narratives to surface on the silver screen in the past year, and is definitely one of the best films of 2014.

Set in Anatolia, the story of Winter Sleep concerns Aydın; the wealthy owner of a mountaintop hotel who was once an actor but has since fallen into the hibernation mode over the years. The plot covers the chaos his self-involved persona brings to his small kingdom as the animosity of his loved ones & the poor people under his reign begins surfacing once the winter approaches.

Directed by Nuri Bilge Ceylan, the film takes a very methodical, patient & firm approach with its narrative which does a stellar job in slowly unraveling the inner details of the various characters inhabiting this story. The entire story is an amalgamation of one conversation after another but it's how each discussion begins & ends plus seamlessly switches from one to another that makes it such an immersive experience.

The locations are wonderfully chosen, set pieces are finely detailed, the hotel itself creates a calm but secluded ambiance which becomes all the more suffocating on the advent of winter. Camera-work is mostly still yet effective plus the landscapes are beautifully photographed, its 196 minutes of runtime never really bothers for the most part, thanks to its breezy storytelling & the score makes its presence felt just when it's required.

Coming to the performances, every single actor here chips in strongly in their given roles & leave nothing to complain about. Haluk Bilginer delivers a magnificent performance as Aydın, and is brilliantly supported by Demet Akbağ & Melisa Sözen who play his sister & wife, respectively. The rest of the cast also shines since each character is deftly scripted & gradually developed which differentiates them from caricatures.

On an overall scale, Winter Sleep is an intensely gripping, masterfully told & exquisitely layered study of a self-righteous character that also takes an interesting look at failing relationships, old age regrets, class divides, and the morals of right & wrong. And despite its challenging runtime, dialogue-driven plot & slow-burn narration, it manages to be a truly immersive & absorbing cinema that's worthy of your time & money. Highly recommended.

The problem of this movie is not that it contains so much dialogue, the problem is the static way in which this dialogue is portrayed

[frankde-jong · 7/10 · 30 June 2022]

"Wintersleep" is, like so many other films of Nuri Bilge Ceylan, a relationship drama.

Aydin (Haluk Bilginer) is a retirered actor who has returned to his hometown. He has inherited some houses, that he rents to locals. Aydin is married to the much younger Nihal (Melisa Sözen).

Much of the film consists of dialogues between Aydin and Nihal.

Nihal accuses Aydin of being a limousine liberal. Socially inspired as an actor, heartless as a landlord.

Aydin accuses Nihal of being naive in her welfare work. The intentions are good, the results are sometimes counterproductive.

Both accusations contain an element of truth.

The problem of this movie is not that it contains so much dialogue, the problem is the static way in which this dialogue is portrayed. In one scene Aydin does not have a discussion with his wife but with his friends during a reunion meal. When the evening progresses and everyone has had a few glasses of wine, the debate grows more intense and dynamic. If the conversations of Aydin and Nihal had been as intense it surely would have benefited the film.

Confusing Movie

[mohamadhawary · 5/10 · 23 April 2020]

There is some thoughts in that movie but it is not clear, the duration is too long , I felt annoyed and confused For me it is less than normal !!

Not Resisting Evil

[ferguson-6 · 8/10 · 18 December 2014]

Greetings again from the darkness. Brace yourself for 3 hours and 19 minutes of heavy listening. Yes, the film was named Palme d'Or at the most recent Cannes, and the dialogue is exceptionally well written, but this isn't one you can just kick back and enjoy. It requires some effort. The two big "action" sequences involve a 10 year old boy tossing a rock and later, his too proud father dropping something into a fireplace. The real action occurs between the ears of the viewer as we assimilate the moods and nuances and double-meanings that accompany the stream of conversations.

Award-winning director Nuri Bilge Ceylan co-wrote the script with his wife Ebru Ceylan, and that probably attributes to the sharpness and poignancy of the relationships between Aydin (Haluk Bilginer) and his wife Nihal (Melisa Sozen) and his sister Necla (Demet Akbag). Much of the film is devoted to one of two things: Aydin making himself feel important, or Nihal and/or Necla voicing their opinions on why he isn't. While that may sound simple, the wordplay and grounded performances often leave us with the feeling that we are eavesdropping on very private conversations.

Filmed in the breathtakingly beautiful Cappadocia region of Anatolia, the geological spectrum contrasts mightily with the near claustrophobic interior scenes that dominate the run time. In fact, when one of the characters does venture outdoors, viewers will find themselves breathing easier and in relief of the stressful intimacy of other scenes.

Hotel Othello is cut directly into one of the more picturesque hillsides of the area, and owner Aydin spends his days locked away in his office, kicking off his latest article bashing societal and morality changes within the village. Aydin has a pretty easy life, as he has inherited the hotel and numerous income producing rental properties from his father. Aydin's career as a stage actor also adds a bit to his local celebrity (and ego). He fancies himself an important man with an important voice, and never hesitates to broadcast his charitable offerings.

Aydin lives at the hotel with his much younger wife Nihal, and his recently divorced sister Necla. The dysfunction abounds as none of the three much respect the others, and manage to express this in the most incisive, passive-aggressive ways possible. There are two extended (each pushing 30 minutes) exchanges that are unlike anything you may have ever seen on screen. One has Necla letting Aydin know what she thinks of his articles, while the other has Nihal finally coming clean with her feelings of being held back, emotionally captive. Both scenes are captivating and powerful, yet voices are never raised and facial expressions are crucial. This is intimate filmmaking at its best and most uncomfortable psychological warfare would not be too extreme as a description.

Conflict is crucial for a dialogue-driven film. Some of the best include My Dinner with Andre, Who's Afraid of Virginia Woolf?, and 12 Angry Men. These are the type of movies that cause us to study all the subtleties within a scene not just what is said, but how it is said and how the message is conveyed. Pride, loneliness and despair run rampant through the characters here and the philosophical discussions force each to lay bare their soul.

For so little action, an undercurrent of wild emotions flows through every scene. In addition to the three leads, there is a character named Hamdi (an Islamic teacher/adviser, played by Serhat Mustafa Kilic) who plays the role of peace-keeper and mediator. His constant smile is but a mask he is forced to wear in his role, and I found his character the most painful of all to watch.

The title may be interpreted as either a "hibernation" or "sleep-walking through life's final stages", and both fit very well. The hotel provides a cave-like hiding place for Aydin, as he pretends to play his final role - that of an important man in the village. There are some truly masterful moments in the film, and it's easy to see why it appeals to only a certain type of film goer. Inspired by the short stories of Chekhov (The Wife, Excellent People), as well as the writings of Tolstoy, Dostoyevsky, and Voltaire, means the viewer is investing emotionally in characters quite full of resentment and oh so dishonest with themselves. It's an undertaking that is difficult, but does offer the opportunity to test one's listening skills and ability to read body language. It also comes with wisdom such as Donkeys lead camels (you'll have to watch the movie!).

Let Me Give You Western Audiences Some Context, So You Can Have a Better Understanding of Why the Characters in the Film Are Acting the Way They're Acting

[utku_kamil_ozen · 10/10 · 13 April 2019]

As I made it clear in the title, I'll try and explain the characters' behavior, especially Aydin's and Ismail's, by explaining the culture that creates their type of characters. So this is more of a character analysis and its explanation than a review, but I might also review it a little bit. I'm typing this as I go along, bear with me.

At the end of the 90s a Korean airline company Korean Air was having significantly more accidents compared to rest of the other airline companies around the world. This was not because of bad pilot training or poor maintenance or old planes, according to a theory the reason was the Korean culture. The theory claimed that the hierarchy and the power dynamics between the pilots, which was demanded by the culture, compromised a healthy communication in the cockpit. The younger person has to respect their elders and superior colleagues to the degree of not correcting their mistakes. Now, I don't know if this theory is 100% correct, but when I first heard this theory, it didn't surprise me at all, and that's the point. Culture has tremendous influence over individuals' behavior in a society. And, every culture has some good sides and then some bad ones, and boy, do we have some bad qualities to our culture here in Turkey...

When Ismail picked up the money and threw it in the fire, I immediately thought to myself, most western audiences, especially Americans, will think that that's a very unlikely, unrealistic and far-fetched reaction that would never happen in real life. But to a Turkish audience, that's a very realistic scene. In schools, we are taught stories, in one of which a man chops his own arm because he's pushed too far by the guy who paid to save his life from false prosecution, well it's more complicated than that but you got the point. Why did Ismail, and his brother before him, refused this charity money, which was offered to them by a woman who showed no condescension whatsoever and on the contrary, came with all the best intentions and humility in the world? That's because Ismail has nothing in life other than his empty pride, which he evidently values even more than his son's future. He uses his pride as a cover to hide all his insecurities and inferiority complexes. In the inlands and the eastern parts of Turkey and to some degree in the slums of the big cities, the Turkish culture is to inherit oppression from parents and later, to leave it as a legacy to the children. A kid cannot question anything in life, especially religion. Women can't flirt with guys or else they are sl**s and may even got killed to restore the family's honor which is called ''namus'' in Turkish, a narrower definition of the word, slightly more specific, it is the ''honor'' of your daughter or sister or your mother not having sex or even flirt with anyone in their lives, unless they are married. This oppression prevents the youth from expressing themselves. A teenage boy cannot wear earrings or have a long hair. Girls have to cover their hair, some families start practicing this when the kid's at the age of 5. But of course, not every family is like that. These kids grow up watching the world around them live their lives, while they are oppressed to a crippling state. They become bitter and frustrated. Boys start bullying others, girls become shy nuns who will have bad marriages because they had no experience. And later in their lives, these men will have no qualities as individuals, nor a decent education. They all become ''silent heroes'' with delusions of grandeur that is completely unwarranted. Their sick ''love'' is the purest love in the world, that's why they can't accept rejection and might kill a woman who rejects or attempts to divorce them. Their ''patriotism'' is the highest anyone can have, that's why they are incapable of listening to any nuanced argument of policy, they might kill you because you are a ''traitor'' or even a ''terrorist'' to them because you want a better, secular country that invests in education and science instead of religion and propaganda. Ironically, they are the ones terrorizing the educated and intellectual people in this country, but of course this irony is lost on them. But then again, what does irony mean, try explaining that to them. This society is the major reason of the brain drain from Turkey, not the economy. They do most things banned by their religion, but they criticize others for the same things they are doing, their hypocrisy is only matched by their shamelessness and the lack of a sense of justice. If they are involved in a minor fender bender, they'll come out of their cars yelling expletives and with our version of a baseball bat in their hands, regardless of whose fault the accident is. These sexually frustrated, oppressed, uneducated, brainwashed men proceeds to perpetuate this same culture that has created them. The Turkish right wing has always liked and used these kind of men throughout the history of our country. Their ignorance is easy to weaponize and create a mob to use against their political rivals. And these poor men love the idea of a dictator, they also love mafia figures and make role models of them, because they've been taught to worship power all their lives, not realizing they are the ones who stole their lives from them. These ''silent heroes'' never rise against oppression or power, but they outnumber and gang up on the powerless, because they are very brave, indeed... So, this is the kind of culture that creates Ismail, he would never accept that kind of a charity, let alone from a woman, that's unheard of. He'd rather spend what little money his brother makes, on alcohol, which is very expensive in Turkey. What an honorable and dignified young man, not accepting that charity...

Aydin, on the other hand, is not the antithesis of Ismail, not even close, despite his good education. His name 'Aydin' can be translated to English as 'Enlightened' but we use that word interchangeably with 'Intellectual', like most attributes Aydin has, even his name is very on the nose and obvious. Aydin represents the ''intellectual'' and out of touch, disconnected bourgeoisie who takes no responsibility to change the world around them for better, despite their power and influence. When confronted and called out for his selfishness(subtly by the teacher) he cries ''I didn't create the system!'' but he perpetuates and benefits from that broken and unfair system and does nothing to fix it, when he has all the power to do so. He's cynical and pro status quo like most wealthy people. It's so easy a thing to remove oneself from any responsibility or guilt, to convince that it's not your fault, there is nothing you can do about it. This kind of thinking is prevalent all around the world, but we take it to new levels here in Turkey. If you are a good teacher, your colleagues might ask you, sarcastically and condescendingly with a smug smirk in their face, ''Are you an idealist or something?'', as if being an idealist is something bad, something to ridicule... Never do anything to fix anything, why do you think it's your job to fix things? You'll get discouraged even by your parents and family if you want to fix something that's accepted as status quo. No pedestrian is waiting for the traffic lights, why are you? Is something wrong with you? Are you going to save the world by recycling? Aydin might have had a better start in life compared to Ismail, but he's only one generation away from his feudal lord ancestors, which is called ''aga'' in Turkish. His father was the aga(lord) of that village and owned everything in that village. Although we are not given enough information about his parents, knowing that he was an aga, I can assure you that he was not an intellectual nor an educated man. He probably used and oppressed the people like slaves. So Aydin didn't grow up in an ideal environment or with ideal parents either. Perhaps that's why he's so out of touch. He writes his ridiculously out of touch, pseudo-intellectual pieces like criticizing the lack of aesthetics in the poverty-stricken small villages of Turkey that are one step away from famine. Then he publishes these on a local paper which literally has one and a half readers, one of which being his sister and he can't take any criticism from his sole regular reader when she calls him out on his bs. And he is full of bs and he knows it. As he's going through his midlife crisis, deep inside, he slowly understands and accepts that he didn't live up to the expectations, best of his life is behind him and it wasn't very good even at its best. Because he has a problem of expressing his love both to a romantic partner and to his family as well. His ''trophy wife'' loved him at first, I have no doubt, but as time went through, it degraded because of his behavior. Despite all his faults, Aydin is such a likable character, because at this turning point in his life, he's showing some sings of maturing and perhaps change. He's starting to accept that he's full of bs and he admits it in what I assumed was a letter to his wife, at the end of the film. He begs his wife to accept him as he is. And the film ends there, we don't know if his pride will allow him to deliver this letter to her or even if he does, we don't know if his wife is capable of forgiving him any more...

Lastly, I'd like to say a few things about Haluk Bilginer(Aydin). He gives such a wonderful performance that he makes a disgusting character somewhat likable, because his acting is so good, it makes the character realistic, instead of what would have been at the hands of a lesser actor, a caricature of a villain. His performance reminded me of Christoph Waltz and his Nazi role in Inglourious Basterds.

The slowest film I've ever seen where I was invested the whole time.

[jonsefcik · 9/10 · 12 October 2017]

This is probably the slowest film I've ever seen where I was invested the whole time. That's quite a feat considering the film's glacial pace and 196-minute run time. I'll admit I don't watch a lot of foreign movies, but I'll go out of my way if I feel they're worth checking out. I heard how slow this movie was, so I went in somewhat cautious. Don't get me wrong, some of my favorite movies are quite slow, such as The Bird People In China and There Will Be Blood. However, I have my limits. I have respect for the artistic merit of films like Solaris, Satantango, Werckmeister Harmonies, and The Turin Horse, and I get what they're going for thematically, but JEEZ, can we please move on? I probably sound like an ignorant jackass for saying that, but hey, that's my honest opinion.

Did I fall asleep during Winter Sleep? Despite the fact that I started the movie at 9:00 pm and it didn't finish until after midnight, the answer was surprisingly no. In my opinion the film is perfectly paced for the story it wants to tell, slow enough that you feel the pace of life in the mountains of central Turkey but just fast enough to keep things moving along. The acting and dialogue are the two things that drive the film, and both are executed beautifully. All of the actors were fantastic and felt like real people. The fact that I don't recognize any of them probably helped, but even in a foreign language film its not hard to spot weak acting. Not a whole lot happens in the film, but the film remains engaging because we care about these believable, relatable characters. Movies like Lord of The Rings: The Return of The King or The Ten Commandments are engaging throughout their 200+ minute run times simply because so much happens in them that you sort of need it to be that long. For the first hour of Winter Sleep, I wasn't really sure where the film was going, but things kept escalating and tensions kept building. By the two and a half hour mark, I was on the edge of my seat, anxious (in a good way) to see how the climax would play out. If a film comprised entirely of 15-minute scene after 15-minute scene of people talking can keep me anticipating what happens next, it must be doing something right.

The film is beautifully shot. We get some beautiful scenery outdoors in addition to some nice cinematography for the indoor scenes. (not really a spoiler) I like how some of the more pivotal scenes are lit only with the flickering light from a fireplace, reflecting the characters' emotional intensity. There's some interesting symbolism and religious/social themes sprinkled throughout as well.

My only complaint with the film is it gets too philosophical and political at points for my taste. There are times where characters will talk about Islam, the Turkish government, and other things for like five minutes at a time. While it technically helps develop the characters and fits with the plot thematically, I felt that some of it was unnecessary and could have been cut. There are times where its needed for the plot though, like when Aydin berates his wife about laws regarding taxation on donation money (not really a spoiler).

Overall, I was pleasantly surprised by this film. If you sit back and let the film suck you in, you'll find yourself engaged. It isn't for everybody, but those willing to stick it out will hopefully find it rewarding.

Disconnect, separation and making the best of what you have

[razvan-ung · 9/10 · 20 August 2015]

Winter Sleep is a long movie. At three hours and 15 minutes, this film will make you actually look at your clock before hitting play. It won Palm d'Or at Cannes and I had no idea of any of this until I saw it on Netflix this week. There's a lot of substance to this movie and a great deal can be said and debated philosophically. I'll just stick to what really stood out for me.

The Disconnect Between Classes

Aydin, the protagonist of the movie, is a wealthy man, well educated and, in kid mind, generous and kind to those around him. What becomes apparent early on in the film is that he is also detached from the practical ongoings of his estate. His property is rented out and managed by lawyers and helpers, he does not know his own tenants, and he's oblivious to the issues they are having.

When a kid breaks his car window with a stone, he's shocked and surprised. He does not realize that debt collectors and the police had a conflict with the kid's father, that the father has no job, and that they live of one person's wage. If this were a more predictable film, you would expect Aydin to realize these details. It doesn't happen! In fact, the only way Aydin tries to help the less fortunate is by donating a great sum of money to the charity his wife, Nihal, is organizing.

This same disconnect is present in my own life, and likely in the life of many of the people around me in the same social class and age group. Our idea of helping the less fortunate is donating to charity once a year or jumping on some online viral bandwagon every so often. And do we really do it to help, or do we do it to help ourselves feel good?

Just like Aydin writes a weekly column in the local paper, so do we write our blogs and Tweets and Facebook posts preaching whats's right and showing off our opinions and moral stances. But in the end, how many of us actually take action or speak from experience rather than simply from philosophical realms?

The Physical Separation

What is captivating about the movie from the get-go is the setting. It's filmed in Cappadocia, Anatolia, a region of Turkey. The landscape and the homes are truly unique. Aydin lives with his wife and sister in a hotel they own. This hotel is built into the mountain, in a way, and it has the feeling of a castle. Aydin is like a kind ruler, and this castle is separating him from the rest of the people, adding to the idea of disconnect.

While he sees himself as a sort of benevolent ruler, we quickly see that practically nobody feel this way about him and he's actually disliked even by his own family. His helper runs all errands, and the ruler sits oblivious in his tower. His sister challenges his moral standpoint on the notion of evil; his wife feels like a prisoner with no purpose in life; his subjects despise him behind his back.

This separation does not happen only in remote regions. This separation is a daily reality in the society we live in. Very few people live in communities where they interact with their neighbours, or even with their own family. People are separated by vast geographical distances, going far from home in search of materialistic gains. And even those who stay close often just shut themselves in, watching Netflix all day or spending hours on their smart phones. Aydin fails to see past the his own mountain fortress. We fail to see past our computer screens.

Making the Best of What You Have

Sad ideas aside, there is a sense of redemption buried somewhere in the snow. Aydin claims he worked all his life, and it is only in his old age that he's as wealthy as we see him. Maybe it's unfair to judge him so harshly. Maybe he was not really meant to be a ruler and his detachment is a byproduct of his lack of interest and his moral high ground. He used to be an actor and his current goal is to write a book on the history of Turkish theater. That's not so wrong, is it? A quiet life on top of a mountain, removed from the problems of the village? Isn't that what many of us want after a life of work?

And what about the tenants who failed to pay rent for many months? If they lived in Canada, they would have been kicked out a long time ago! It's clear that even though the people around Aydin are unhappy, he's actually content with his station in life. He tells Nihal that he still realizes the value of having a warm room and a roof over his head, while she talks about doing greater things in life. I couldn't help but agree with Aydin: we often forget what we have and, like Nihal, we get stressed with wanting more and more from life. A simple shift in focus could make us happy: just focus on what you have and consider that billions of others would give anything to have a full fridge, a warm house, and people who love them.

There: I tried to end it on a more positive note! Hope you will watch this long but rewarding movie! Thank you for reading.

Oh My! Oh My!

[akashawasthi12896 · 10/10 · 17 April 2015]

How can you embody so many themes in one single movie with such great care and dedication? This motion picture lets you see everything you want to see and perhaps even more. With this I'll also add, its quintessentially a Nuri Bilge Ceylan film, so you cant expect any over- the-top gesture or quirk. Its life at its natural pace. Whether an audience sees it or not, its there, in all its beauty and tragedy.

Aydin (Haluk Bilginer) runs a small hotel in Anatolia with his wife Nihal (Melisa Sozen) and his sister Necla (Demet Akbag). His life appears to be a serene one at first. He seems calm, handles everything with care, looks as if he has a grip on almost everything. But does he?

When the film begins we have no idea who these people are and by the film ends, its as if we know their core, so much so that its shocking. That is the power only possessed by great films, which this one is, in my mind.

With this film, Ceylan has reached to a whole other level of film- making. He not only co-wrote some of the best conversations ever to be captured on film, but also had the ability to stage and dramatize it.

On a personal level, I just feel this is that kind of a film which would be cathartic for some, highly profound for others and some might just find it boring owing to its length. But one thing is certain, it has captured the truth of the characters as one would catch lightening in a bottle (if one ever could). Its worth a watch, at least once, and that goes for every single person on earth!Do catch it sometime.

Great movie.

[mahmus · 8/10 · 15 September 2020]

This movie feels like you're peeking into the lives of these characters, and it can be very awkward.

The story is, basically, a conflict between a landlord and a tenant. The main landlord is kind of an asshole. He's snobbish and condescending, but the tenant isn't the most likeable either.

These characters feel like people. Flawed and conflicted. Their story is more fascinating to watch that it would seem at first.

The film is very long and very slow, but instead of being boring, it's relaxing, despite how unrelaxed the characters may be (they spend a lot of the time arguing). It's also really tense. Tense and relaxing. Oddly nostalgic.

If I were to compare it to a more recent movie, that would be Hu Bo's An Elephant Sitting Still.

From Shakespeare to Sartre: Excellence

[Arianrhod_B · 7 July 2014]

I've spent a long time to write a comment on this movie, as I couldn't rely on my judgment about Nuri Bilge Ceylan, who is one of the best directors that Turkish cinema could have ever nurtured; so it took a very long time. Finally I've come up with something to say. If you're one of the people who's always looking for something worth watching and who are sick of superficial movies with cliché stories, Winter Sleep is what you need. For my point of view, this is Ceylan's second best after Uzak (Distant), the movie which also conquered Cannes Film Festival and many other international festivals.

You don't need to know the story – there isn't one. There are only 3 basic characters, let's say, three reflections of beings represented by real actors of this life. It's not a coincidence that the lead character of the movie was once used to be an actor in the story. And Ceylan is using the actor's real life images on stage to dramatize the effect. So it's not easy not to think of what the real actor has done in real life, who also performed in Shakespeare Globe Festival in Antonius and Cleopatra in UK, and the photo background in his room is quite visible. The character always speaks of the virtues "conscience" and "morality", none of which he has, and also he uses the word "ignorance" as if he is in a war with it. He might not seem ignorant to you, but deep down, he is ignorant to what he is and everyone around him. He is like the emperor over a small capitalist system he's created and looking down on everyone as if they were beneath him. This is why he is struggling so hard to make everyone think that he's got all these virtues. However, just like Sartre's play "No Exit", it is through your actions and by other's reflections upon you that you can define yourself. In Ceylan's play, three main characters of "No Exit" is Aydin, his wife Nihal and his sister Necla. Knowing there's no escape in facing the reality, to what he truly is, the fear of losing overtakes him. Either he has to accept his "essence", or leave – a spoiler: he can't leave. He must be in "hic et nunc", he is unable to leave.

As a reminder of a play in the movie, Shakespeare's play "Richard III" has the most striking quote of the movie: "Conscience is but a word that cowards use, devised at first to keep the strong in awe". , stating Aydin's fear of exposing his true identity and using "morality" as a tool to fight it. The word "conscience" has sickened his wife, Nihal, who can't accept him for what he is anymore, but she isn't able to "choose" her identity either. Therefore she is stuck with him. And his sister Necla disappears right after the truth is spoken to her face: she has done her part in the play.

I must say I am amazed by all the references in the movie and it doesn't really need a plot. Ceylan has outdone himself in writing the scenario and of course, most applause should go to the actors who have done an incredible job, especially Haluk Bilginer in creating such an ambiguous character.

And thank you Ceylan for speaking up for what is silenced in Turkey, this movie's going to be remembered with one of Cannes Festival's photos, the lead actors holding the text #Soma. Enjoy.

Meditative drama

[briancham1994 · 7/10 · 31 January 2021]

This film's drama is slow and meditative - a far cry from the soap operas that it constantly belittles. It centres on a remote Turkish village and the wealthy but reclusive patriarch who starts off with an outwardly principled appearance but turns out to be judgemental and destructive. The dynamics of the town slowly unravel and reveal a backstory that shows that things are not as idyllic as the pleasantries and scenery might suggest - the gap between the desperate and the wealthy, the lack of real love and the chronic dissatisfaction and longing for the past.

A true masterpiece. One of the best films ever made!

[warthogjump · 10/10 · 16 November 2014]

The truth is, when you read that this monster of a 3.5 hour film is the shortest 3.5 hour film you would have ever viewed, you don't believe or understand how that could be true... until, at least, you have sat through every satisfying scene of this extraordinary piece of cinema.

Every single scene, every single piece of dialogue is acted to and filmed with absolute perfection. The film reels you in from the very beginning and does not let go. The cinematography is absolutely gorgeous. There is no better way the Director Ceylan could have captured Cappadocia. Having visited myself, I feel as though Ceylan has managed to capture Cappadocia on screen better than I ever saw it through my own eyes in the few days I was there. It is horrifyingly beautiful!!

And the main character, Aydin, is a treasure to behold. He is such a talented, but yet flawed man, he is so human. Every character Ceylan has created is so human. That's what makes this film sooo amazing! Every character is so different in nature and personality to the other character, yet we somehow manage to relate to every one of them.

This is the kind of film where not much happens, but your jaw drops at every scene because Ceylan has filmed reality better than most of us live it. It is honestly quite scary. Most of our lives mutter on without us ever reflecting on it, properly anyway, because we don't really get the chance. However, when you watch Winter Sleep you can see a part of yourself in pretty much every character. You understand every person's actions in the film and there is no greater exemplification that, at least between the three main characters, the line of good and bad is ever so blurred. Everyone has their reasons, everyone has good intentions, but yet people just cannot get along harmoniously because they are naturally different.

Anyway, without going too far, the film is deep, and very interesting to watch. However, at the same time, the film is extremely humorous. Not your typical 'comedy.' In fact, if you like 'comedy' you probably won't laugh once during this film. The film is such an accurate portrayal of reality that it is funny. Watching the films as Turks, ourselves, the depiction of Turkish society, the mannerisms, the behaviourisms, and the actions of the characters, it's akin to living and breathing Turkish culture. I can think of many examples throughout the film, but without extending my review too long, I will only provide one example. For instance, in almost every scene, the characters are drinking tea. So typical. In another scene, as soon the characters finish drinking tea, coffee is ordered. It's not just the outcome, though, that is funny. It's the way Ceylan has captured the scene...so brutally honest, there is no sway from reality whatsoever.

I was honoured to be one of the first to watch this film at the Nova Exclusive in Melbourne. We were born and bred in Australia, but our Turkish culture is still imminent in us. This film is so universal everyone can enjoy it, yet somehow it is such an accurate depiction of Turkish culture and manifests the problems we humans all face across the globe - it really is no different no matter what nationality, culture or race you come from - ultimately, we all have to deal with relationship dilemmas!!

I found it amazingly funny in an interview I read with the director Ceylan who responded to the potential dark humour in the film..."I don't do comedies - I don't like laughing" - or something along those lines. Just as he muttered those words he burst into laughter himself. Ceylan has a tack for intellectual art. He has created something so beautiful it will require many repeated viewings just to digest the full glory of this masterpiece. I would love to re- watch it immediately!!

I like this one

[saadulla-37124 · 6/10 · 20 April 2020]

Great on its kind. I hope the director do more movies like that.

Tedious art House!

[fables1959 · 4/10 · 9 February 2015]

Boring, tedious, a hugely underwhelming experience. This could have been a good movie with a director and an editor who were not asleep at the wheel and knew when enough was enough! Huge unwanted pregnant pauses, moody silences, all the narcissistic art house red flags, on the same par with the equally boring "The tree of Life" from a few years ago! A major disappointment, I was actually looking forward to it but after slogging through the first slower than slow 70 minutes I realized that it was not going to get any better, yet I stayed for till the end, bigger fool I! "Winter Sleep" is an ironic title because it certainly lead me to the land of nod!