L'invitée de l'hiver

First of all, the exquisite beauty of this film is mute evidence of the artistic background of the director, Alan Rickman, who was a graphics designer before he became an actor. The iciness and vastness of the frozen Scottish sea coast made me shiver in summer when I first saw it. The kids' conversation about genitalia was funny, and having had 5 children, I never knew they dropped.

Emma Thompson and her mother had a great interaction.which is so appropriate, as it shows both the love and the friction that goes on between mother and daughter who are so much alike. This is the major story line, with the subtexts occurring between the boys and between the old ladies intent on attending funerals, as they approach their own 'going away party'.

It is an unusually visually attractive film and certainly not a formulaic dialogue. I recommend it to anyone with a brain and an eye for beauty. Alice Copeland Brown

This film is one of those small but delicious productions in modern european film industry that makes it worth to continue going to the cinema. It is the film version of a Scottish theatre production, that did run with the same basic cast.

There is no main plot. It is the summing up of four basic stories which are somewhat interwoven, describing the relationships between very different human beings.

The Scottish winter, framing all the story, is almost a character of its own. You can almost sense the ice, the intense coldness around the characters, but you altogether feel the warmth of human emotions.

The actors are all outstanding in their characters. Above all others, Phyllida Law and Emma Thompson (real life mother and daughter) give a very powerful performance, portraying a depressed recent widow and her energetic and controlling mother: really a charming old lady.

The great Alan Rickman's direction is in my opinion a very good job, bringing all the different stories together and making a magnificent choral film.

I eagerly look forward to his next attempt in directorial tasks.

There are other overall comments; I thought I would comment on it from a 'quiet psychological drama' POV. As the different pairs of people (mother/bereaved daughter, son/girlfriend, boys, old women) developed their stories, and sometimes criss-crossed, I saw a growing pattern in how they all dealt with their existential lone-ness and lack of drive. The fun but seemingly insignificant (at first) retired ladies hold the key the others seem to echo each in their own way: that if you have a friend, a journey of discovery, and something (or someone) to care for, you can grow in hard conditions, and move on. There are even almost mythical scenes of epiphany about this theme, but I don't know whether Rickmann or MacDonald intended this beautiful mythological pattern to answer the existential crises we face in modern times, but the richness and depth the characters grow into by the end of the film is something that really hit me. A fascinating study that follows the characters so carefully as to teach you things about yourself. Put this in your medicine cabinet for prompt temporary relief of existential despair. If they can find warmth in that bitter chill, there's hope for us too. Not for you if action movies are your thing, of course!

Meets my standard for 'movies that improved my life'.

Alan Rickman has made a breathtakingly beautiful, haunting movie that sucks you in and won't let you go until long after the credits have finished rolling. The story centers on four couples: a mother and her grieving adult daughter, her son and the girl who takes a fancy to him, two young teenage boys going through all the troubles of puberty, and two old ladies with nothing left to do but attend funerals. Their stories are intervowen, against the backdrop of a gorgeous Scottish winter landscape, which is threatening to take over and swallow them whole. They all have to find their paths in life, realize what's important and what's worth living for.

The pace of this movie is very slow, so granted, it's not for everyone. But if you like your movies bittersweet, with reality seeping out of every pore, then this is a film for you.

Like any great film, this is close to the essence of life. In four poetic,

hearthwarming scenes, different generations of characters are entangled in a

longing for protection and affection. Two woman wait at a bus stop for a day out to a funeral, but behind their apparent, casual view on death lies a hidden fear for their own end. A new girl in town chases after a local boy, both search

through their mutual attraction towards each other. Two schoolboys are playing near the frozen sea and talk about their future. And all this is bound by the main story of a mother-daughter relationship. From the first flight over the seascape, to the final scene with one of the boys walking into the mist, everything is filmed and directed with the same sense for intense images and esthetic realism. And when on the tones of Liz Fraser, lovingly singing the end-credits, the film

ends.....and there's a certain sadness that one already has to leave this beautiful universe behind. "The Winter guest" is again (if their ever was doubt) the prove how superior European cinema is compared to the Hollywood-counterpart. I rest my case.