You always wake up

#NZIFF# I didn't pay attention to the film length before I went to the cinema. It was dark when I came out and looked down at my watch, and found that more than three hours had passed. The English subtitles changed rapidly with the speed of speech, and there were also large discussions on difficult issues such as moral dilemmas, which made it more difficult to understand. Perhaps it was related to this. I was firmly held in the hands of the director during the whole process, and I didn't have a minute of thought to leave. Although I don't like the cliché of throwing money into the fire, it is too easy to guess that it will be so, but it is still flawed. Indoors and outdoors, the dialogue is blank, and the scattered plots stack up the author's thoughts on human nature. The director is honest. Different voices have been given enough space to make a sound, and finally completed the symphony, echoing in the frozen earth.

This is indeed an ambitious film. The director mentioned in interviews elsewhere that the film was inspired by Chekov's novels. In order to meet his own requirements, he brewed for many years until everything matured. The same land of Turkey, the same dim and frosty color texture, and the same thick breath revealed from the white space. This time Ceylan has many differences. The most prominent are the breathless conversations and arguments. Many people don't like it. They feel that such a treatment is too straightforward and weakens the possibility of conflict. For ten minutes, I realized that, to me, the direct collision of language is one of the excavators of the depth of the film. If pictures and music are the carrier of the artist's temperament, then the dialogue is the presentation of the posture of the thinker. So it's no wonder that I would love movies adapted from dramas like "Carnage" or "August: Osage County" for ten minutes.

Back to "Hibernation." A lot of dialogues and plots in the film discuss many topics that are not directly related: the choice between good and evil, and the moral dilemma of how to eliminate evil by not rejecting evil; the difference between poor and rich, and what should be done to fill the gap and maintain fairness ; Real and hypocritical self-states, and whether people have the ability to achieve self-realization in action, etc. In the confrontation of these issues, the protagonist Aydin seems to have always had the upper hand, smashing the shells of all those around him with the reason, introspection, and conscience he believes in, and believing that only he is the incarnation of truth and the king of his kingdom. As a result, everyone was pushed out of his world. The truth of this rational framework is also useless in the face of barbarism. It fails to control wild horses born in nature, and it fails to pity the drunk who has self-esteem.

In the end, Aydin did not leave as promised, but returned home in the heavy snow. He explained that maybe it was because he was old, and I think he might finally understand what he lacks, love, or the courage to love. It's a cliché to say this, but I'm sure it is. A person who lives in his own world, never feels bored, and uses his reason and writing to gain self-esteem, finally faces his loneliness and powerlessness this winter, and admits the need for others, and this must exist in people and The need between people is love.


Heavy snow will keep you cold for a whole winter, sleep, but wake up, where winter will always end.

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