Stephen and Mike Sim are two good friends with very different personalities. Stephen's personality is introverted, tolerant, serious in everything, and very limited friends, especially friends of the opposite sex, with only one. Mike Sim is the opposite. He is optimistic, cheerful and sociable. They closed the violin studio, sold and repaired violins, and had leisurely pleasure in a quiet working environment. Until the appearance of Mike Sim's girlfriend and beautiful female violinist Camille. Without too much communication, without too much language, maybe because of the unique temperament exuding each other, Stephen and Camille fell in love. Stephen is complex, profound, and elusive, like the black hole of life, secret, and has a huge attraction to people. Stephen’s charm is even beyond your description. He has abandoned the worldly vanity, so he is less jealous; he is not confused by the surface of life, so he does not follow blindly; he does not speak falsely about love, so he appears indifferent; he is indifferent to love. There is a deep desire, so he retreats in the face of fanaticism; he restrains desire, so he doesn't care about loneliness; he sees life clearly, so he can face death calmly. Can a beautiful and talented female violinist and a superb tuner finally get married?
However, the film does not stop at the beauty or pain of love. The film is more concerned with, what is love? How should we treat love?
This is a film full of author's intentions, but the author's intentions are completely invisible. All the author's intentions are only reflected in his setting of two characters who face love with sensibility and rationality, and who is right and who is wrong, the author gives the audience the power of analysis. There must be a God looking at every character in the story, and giving each character the rationality of his behavior. The director does not deliberately beautify or demonize everyone, he never compromises with flattery, he faces every form of life.
Movies about love are often easy to make lyrical or even sensational. Only by constantly adding materials to love can the taste for love be touched, thereby creating an illusion that I am in love and I can love. They yearn for beauty and delicateness. In fact, they religiousize love and beautify love unlimitedly, which just exposes their lack of love. But "Heart of Winter" faithfully shows you the possibility and paradox of love, showing the directness and introspection of the strong when facing love.
