Winter Sleep Poster

Winter Sleep (2014)

Drama  
Rayting:   8.2/10 47.1K votes
Country: Turkey | France
Language: Turkish | English
Release date: 25 September 2014

A hotel owner and landlord in a remote Turkish village deals with conflicts within his family and a tenant behind on his rent.

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bilalkotan-9-518713 24 May 2014

With his latest, Winter Sleep, Nuri Bilge Ceylan's characteristic obsession with his country's variegated topography takes him to Cappadocia, a remote stretch of the Anatolian countryside whose strange mound-like formations provide the backdrop for an intimate tale of marital take-and-no-give that's been stretched (for no apparent reason other than indulgence) to over three hours. Much like the lead character, a charismatic former actor who now runs the Hotel Othello, Ceylan's film doesn't know when to let an argument rest. The obvious analogue here would be Bergman's Scenes from a Marriage; the key difference lies in Winter Sleep's absolute refusal to let anything be at emotional stake. The husband expounds, his wife or sister rebuts, and then he uses his considerable rhetorical acumen to put them in their place. A subplot dealing with a dispute between the hotelier and his tenant farmers seems left over from an earlier film. And in case there were any doubt as to the fatuousness of Ceylan's approach here, look no further than an excruciatingly protracted scene involving an envelope stuffed with money and a crackling fireplace telegraphs its inevitable conclusion from the start. Perhaps such inexorability is Ceylan's true theme. If so, he still has to answer for taking nearly forever to get there.

akashawasthi12896 17 April 2015

Fmovies: 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.

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.

warthogjump 16 November 2014

Winter Sleep fmovies. 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 somethin

ferguson-6 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 Â… 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 Â… 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

hu-zhang 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 st

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