The saturation of the film is very low, and the whole film is shrouded in a cold, foggy snow. The story is incomplete, because the plot is not important, the important thing is to restore each real and trivial dialogue situation. Everyone is making their own voices, and every conversation is almost stuck in a stalemate. People only talk about it, but forget to listen and understand each other, so it seems that each character is like a silkworm that keeps spinning, and eventually he will be strict with himself. Strictly wrapped in a cocoon, the interior is complete, the logic is self-consistent, but it cannot communicate. But the deeper problem is that they can't leave each other, out of love, Adyin wants to stay here, out of weakness, Nihal can only rely on her "old and crazy" husband. In the end, Adyin's confession made people unable to help but despair: "Let's live together, do what you want, forgive me." What's wrong with him? He just likes to use conscience, morals, principles, etc. as a filter to look at the world, even if it is out of time, and this inappropriateness will unconsciously show contempt. But who is not observing, evaluating and judging with their own eyes and heart? If you have to say something wrong, then no one is innocent, but he is willing to repent and pay the bill. In the end, it was still winter, no one woke up from their cocoons, and the villagers were "hibernating" all year round.
The film succeeds in dialogue, and it fails in dialogue. This kind of chattering narration is a great test for the audience's patience. Some things are more suitable to be presented in words. After all, watching all kinds of bickering for more than three hours is quite tiring, and the quarrel is a bit of a headache. .
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