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Kış Uykusu 2014
Description: Aydin, a retired actor, owns a tiny hotel in central Anatolia with his young wife Nihal and his sister Necla, who is coping with her newest divorce. During the winter, snow covers the ground and boredom brings the return of old memories, pushing Aydin to flee…
Released: 12 Jun 2014 Director: Nuri Bilge Ceylan Writers: Ebru Ceylan, Nuri Bilge Ceylan, Anton Chekhov (inspired from short stories by) Actors: Haluk Bilginer, Melisa Sözen, Demet Akbag, Ayberk Pekcan Genres: Drama
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See Winter Sleep – Shakespeare Sce on youtube.

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See Winter Sleep - Making Of &quot on youtube.

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See KIŞ UYKUSU FİLM MÜZİĞİ (Winter on youtube.

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See Winter Sleep on youtube.

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See Winter Sleep - The Breakfast S on youtube.

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See Winter Sleep - The Kitchen Sce on youtube.

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See Winter Sleep - Epilogue on youtube.

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Kış Uykusu Reviews:

Set in Cappadochia, central Anatolia, WINTER SLEEP (KIS UYKUSU) focuses on the life of Aydın (Haluk Bilginer) a retired actor who actually runs the Hotel Othello. The name is significant, as it reveals his real preoccupation with performance, a trait reinforced by the framed bills on his study wall. With plenty of family cash at his disposal he has no need to work, but that does not stop him from screwing each penny out of his tenants with the support of his henchperson Hidayet (Ayberk Pekcan). Although perpetually drawing attention to his terrible background and unhappy childhood, it's clear that Aydın's life revolves fully around himself; and that the only method he can salve his conscience is to create charitable donations, preferably anonymously. With KIŞ UYKUSU we are back on thematic zone that director Nuri Bilge Ceylan previously explored in KASABA. He readily acknowledges Chekhov as an inspiration for creating a globe where no one has much to do except talk to one another. Aydın busies himself with a tons of tasks, including writing a column for the local newspaper and writing a ebook on the history of the Turkish theater. His sister Necla (Demet Akbağ) spends much of her time lolling on the sofa and wondering whether she could forgive her ex-husband for an unhappy marriage. Aydın's wife Nihal (Melissa Sözen) is equally indolent; her sole aim in life seems to be to chair a committee of prosperous locals dedicated to raising cash for the local school.Stylistically speaking KIŞ UYKUSU is slightly various from Ceylan's earlier work; there are fewer reflective sequences designed to prompt reflection on the landscape and the elements, and more face-to-face confrontations between the protagonists. They emphasize the primary emptiness of their lives, as they have nothing to but talk and talk, in contrast to their tenants - for example the local imam Hamdi (Serhat Kılıç) who wonders about taking a second job so as to create ends meet. On the another hand these lengthy conversations draw attention to the protagonists' love of surfaces; unable (or unwilling) to engage with life's realities, they would rather talk at rather than with one another.The wonderful landscapes of Cappadochia in winter, with its fairy chimneys and unspoiled Anatolian terrain, offers a mission of contrast to the characters' musings. While they spend their time both literally and mentally imprisoned within Aydın's hotel, the landscape offers a reminder of timeless virtues, as well as the fact that nature continues to flourish in spite of humanity's greatest attempts to destroy it.The movie comes to a climactic conclusion when Ceylan brings the indolent characters into contact with those forced to eke out an existence in harsh conditions. Nihal offers a financial gift to Hamdi's family; but fails to understand how such an act of apparent goodwill represents the ultimate insult. As Hamdi's brother İsmail (Nejat İsler) contends, it is nothing more than conscience cash to atone for the fact that Aydın's family were responsible for causing İsmail's son Ilyas's (Emirhan Doruktutan's) pneumonia earlier on in the film. Meanwhile Aydın discovers to his cost that the local educator Levent (Nadir Sarıbacak) has a jaundiced view of all wealthy philanthropists. Yet such experiences do not lead to any form of redemption. The movie ends with Aydın and Nihal sitting morosely in their deserted hotel, looking out of the window at the snow-covered vista beyond, imprisoned by their lack of perception.This movie won the Palme d'Or at Cannes; it deserves each success. A modern classic.


I had the possibility to see tonight this film in "Positif" (a french, highly rated, cinema review) "avant Première". When I made the usual reservation for Positif readers/ subscriber, the reservation said me (and it is listed in the invitation) "we remind you that this film lasts 3h and 16 minutes....". Unusual....I was aware of that, but , as Michel Ciment pointed out, in his introduction, there are 1h 30 mins films which seem to last 4 hours....and here, "on ne voit pas le temps passer" un-consciously used the game of a song by Jean Ferrat).And, indeed, this is true. Very several "important" happenings happen in the film, but the degradation of the relation between the two main characters takes zone tiny step by tiny step, and every dialogue is captivating, while the cast (all the cast) is wonderfully playing. Some scenes are surprising by their underneath violence (how a gift turns out to be an insult , and how the outrage is returned, is a flabbergasting sequence) The zone in Anatolia, the winter atmosphere, and the remarkable photography adds a piece of charm to the film. At the end, you will remember that it all started by a tiny stone thrown at a car.... and wonder how you were so much instantly entrapped by the intrigue, so much that it should have lasted as long as the mother and the whore, other lengthy movie, you would not have complained.I do not wish to spoil you by describing the plot, but it brings so many reflections about society, aging of a relationship, and a couple, that ... you will wish to see it again (which I will certainly do when it is theater released in August). It is an absolute masterpiece, and likely the greatest movie of the decade......(and of course Ceylon greatest so fat) Go to see it !


Winter Sleep is a masterpiece by Nuri Bilge Ceylan, a movie shining with literary eloquence and incisive social criticism. Aydin ("intellectual" in Turkish) is a failed former actor, actually a hotel owner with sufficient inheritance to create him command the scene as a condescending "king" of a village in Cappadocia. He feels licensed to instruct, intrude and judge, not only on his pitiable tenants, but also on his disaffected young wife Nihal and divorced self-doubting sister Necla. This sentiment ostensibly extends to poor, uneducated and religious classes of the country, making Aydin a stereotype of the Turkish elite. The brutal taming of the horse is an allegory of his marriage; young and cute Nihal is just other decorative item in his life, not an individual with her own rights and pursuits. Aydin also epitomizes a male-dominated society, cutting across lvls of education and affluence. A glimmer of hope comes with a stone breaking the glass. While ruthlessly and decisively able to overpower everyone else in his reign, Aydin is disturbingly challenged by a stubborn 10 year-old man Ilyas (Arabic equivalent of Elijah, a harbinger of the Messiah). Putting the lens on the perpetually pretending psyche of the western-styled intellectual, Winter Sleep portrays the Turkish nation struggling between the East and the West. Aydin claims to have ideals and concepts but has no intention to create a difference for the good, does not even attempt to empathize with his fellow citizens. His articulate quote from Shakespeare echoes a confession. It's no coincidence that Nuri Bilge Ceylan was charmed by Chekhov, a like-minded creator from yet other nation torn between civilizations. Hats off to 2014 Palme d'Or judges for their audacity. By recognizing the value of Ceylan's work, they have enticed global audiences to risk 3 hours 16 mins of their time to a non-commercial film, a feast of cinematography and acting bundled with literary gratification.



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