Au fil de l'hiver

drugs, sex, a disturbed girl with a disturbed past, her father is a salinger-esquire recluse, and when she doesn't want to find anything back home, she finds herself.

this is the description of this film and about 100 films a year at every film festival you attend. you can throw a ball into a pit of films at a film festival and hit a dozen of these. the only reason this one got made is because of the cast. that's it. it moves very slowly along and doesn't dare make an interesting scene captivating enough to wake you from your sleep. the only redeeming factor is Will Ferrell's character. he is quite funny and as you can imagine does at some comic relief. there is nothing special from this movie. there is nothing in this movie that separates it from any other indie film. don't expect much from this "how to make an indie film" film.

Greetings again from the darkness. When writers attempt to tackle too many themes in one story, usually none are complete. Writer and Director Adam Rapp (brother Anthony is of "Rent" fame and has a brief cameo in this one) is extremely ambitious as he explores parenthood, artistic genius, friendship, community, guilt and the desire to feel love and pain. Surprisingly Rapp is mostly successful in pulling off a most complex script.

Ed Harris stars as a reclusive writer with more than a nod to J.D. Salinger (his last name is Holden ... get it?). In poor health and being taken care of by a former student (Amelia Warner) and a broken down rhythm guitarist (Will Ferrell), Harris is taken aback when his long lost daughter (Zooey Deschanel) shows up one day. Drastically altering the dynamics of this bizarre little community, Deschanel literally steals the film. She spills her soul on screen and we somehow understand her habit of slamming her hand in a drawer just to feel something. She is a pitiful person seeking redemption and her place in life.

Harris and Warner are fine in their roles, but Ferrell is a real distraction. As a viewer, we don't see the character. We see Will Ferrell on screen ... acting goofy and clumsily mumbling his lines. His open mike night could easily have been an SNL skit. This movie would have been much better with a straight forward actor in this role. That said, I still have faith Ferrell will succeed as a dramatic actor. If Robin Williams could make the transition, surely Elf can.

If you might enjoy multi-layered story telling, a tremendous performance by Zooey and can look past Will Ferrell, this movie has a lot to offer.

Winter Passing is remarkable for several reasons. The performances of Zooey Deschanel and Ed Harris are resonant and moving. The look and the music of the film are quite lovely and evoke a hurt, longing that works well with the theme of the film. And finally, the story itself is remarkable for anyone who's familiar with the life and enigma of the writer J.D. Salinger. For anyone who has read his daughter, Margaret Salinger's wonderful memoir, "Dream Catcher," the film will play like a thinly veiled reference to her life with the highly lauded and tragically flawed father who is a legend and inspiration to generations and a horror as a father.

This would have made a great short film, and I don't mean that as an insult.

The idea of the plot is an interesting one, but didn't seem to hold my attention for the whole film, although the festival audience didn't seem to mind that much.

Adam Rapp is off to a good start as a director, it seems he hasn't done much, but I look forward to his next film. His work with the actors was marvelous, and the camera placement wonderful too. It's just that the story seemed a little, well, difficult to swallow. There's no missing the Salinger connection, and it seems as if every cliché about his life is crammed in here.

And as much as I love Will Farrell, his genius for comedy was somewhat of a distraction- it's just hard to believe him in this role. A solid actor without a public persona would have helped me stay in the story.

But overall, an enjoyable ride.

One of the challenges Winter Passing faces is getting the audience to empathize with characters enough to ride the film's emotional ups-and-downs. Director Adam Rapp took a risk by placing so many of the events which define each character outside of the story, instead conveying these details through conversations between characters (i.e. "Who's pills are these?" or "Who is Corbit and why does he live here?").

The potential reward of this "Tell-Don't-Show" approach is that the director can add dimension to the characters by providing a greater quantity of personal history and details. The risk, however, is that the audience won't invest enough emotionally in the characters to really care about what happens to them.

The acting was quite good; I'm always glad to see Will Ferrell push beyond his slapstick beginnings, and he and Zooey Deschanel have very believable chemistry. But by relying so heavily on dialogue and description, the film subverts the medium, and made it hard for me to identify with any of the four main characters.