Nuri Big Ceylon's films are always so sincere. He borrowed the famous words of Omar Sheriff to speak his mind. This film is a bit like Ceylon's previous film "The Far Side", and talks about the dilemma of poverty, conscience, faith, creation, and survival. If Sayhatty's film "A Separation" throws the audience into a moral and realistic dilemma, Ceylon's Hibernation discusses four or five of these unsolvable dilemmas, all done with long-winded pro-and-reverse character dialogue. Hibernation played for 196 minutes and Wild Pear Tree played for 188 minutes. Quentin's script lines are cut in half without affecting the plot, and the Ceylon script has a large number of lines and one less paragraph misses the high-density speculation. This is the fifth Ceylon movie I've seen, and I dare say I'm familiar with the director. Because the director was too frank, he spread out his thoughts to the audience. Pros and cons, for so many years. Ceylon's photography, lighting, and composition could carry on the mantle of his idol Tarkovsky. But his expression of being so faithful to his own reflection is unique in the film industry. Although I still prefer his movies with plot, Three Monkeys and Once Upon a Time in Asia Minor. If you want to think and think with the director, you still have to watch hibernation, wild pear trees and the distance. In the scene of burning money, Ismail's tears are also rich in meaning, humiliation, self-blame, and self-defeating. I have a love-hate relationship with the characters in Hibernate.
View more about Winter Sleep reviews
