Winter Sleep

At 196 minutes long, this Cannes Palme d'Or winner may actually send you to sleep.
Tom Clift
November 17, 2014

Overview

The winner of this year's Cannes Film Fest Palm d'Or is an exercise in movie-going endurance. Written and directed by celebrated Turkish filmmaker Nuri Bilge Ceylan, Winter Sleep clocks in at a gruelling 196 minutes long, a figure that makes the most recent Hobbit flick look positively breezy by comparison. Frankly, only the most committed of arthouse nerds should even attempt Ceylan's latest — and even they may find themselves struggling with the picture's slow-as-molasses pace.

Indeed, despite his film's epic run time, Ceylan appears committed to keeping actual dramatic incident to a minimum. Concerned, at its core, with the erosion of the marriage between a conceited old hotel owner (Haluk Bilgine) and his miserable young wife (Melisa Sozen), Winter Sleep at times feels more like a stage play than a movie. Characters argue at inordinate lengths about marriage, money, philanthropy, class and the nature of good and evil. Then they argue some more.

The topics that Ceylan sets out to explore are certainly intriguing. In its best moments, Winter Sleep calls to mind the likes of A Separation and Two Days, One Night — films in which the dialogue cuts not just to the hearts of the characters, but to the issues facing the society in which those characters live. At other points, however, Ceylan's writing becomes strained, laying out his themes in painfully literal language, as if we can't be trusted to understand them on our own.

On a more unequivocally positive note, Gokhan Tiryaki's cinematography is genuinely stunning. Under the harsh, grey-white light of foreboding winter skies, the Anatolian landscape seems almost otherworldly. Equally beautiful are several night-time interior scenes, the flickering glow from the fireplace casting shadows across the walls.

Even so, it's difficult to get past that ridiculous three-hour run time, which drags behind the film like a ball and chain. Ironically, most of the truly compelling content can be found in the movie's second half. The problem is that, by the time you get there, there's a good chance that your brain will have already checked out.

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