Les rêveurs

This movie pictures the life of five characters connect by a car accident in a snowing road, provoked by the projectionist Rene (Ulrich Matthes) and the broken farmer Theo (Josef Bierbichler). Rene is a kind of melancholic intellectual, who has amnesia problem and takes picture of the most important events of his life to recall them. One night he drinks too much and steals the car of the ski trainer Marco (Heino Ferch) just for fun. Due to a lack of attention of Theo on the road, there is a dreadful accident, when his young daughter is seriously hurt in the head. She is sent to a hospital without the necessary resources for such a case, but she is unable to be transferred to another suitable place due to the bad weather and her conditions. The nurse in charge of the young girl is Laura (Marie-Lou Sellen), an anorexic woman full of problems and inferiority complex due to her body, who lives in a house inherited from her grandmother with her friend Rebecca (the delicious and sexy Floriane Daniel). Rebecca works in translation, usually wears red colored clothes and has a kind of engagement (indeed their relationship is limited to sex) with Marco. He is a typical unfaithful male man, sexually chasing the women trained by him and being an empty person. The story is a kind of metaphor with the cycle of life, through the lives of five persons with different attitudes and behavior, who are linked by an incident, having death and birth but with life going on. The direction and the performance of the cast are excellent and the photography is wonderful. My vote is eight.

Title (Brazil): `Winter Sleepers – Inverno Quente' (`Winter Sleepers – Hot Winter')

I went to see "Winter Sleepers (Winterschläfer)" only because it's the same director as "Run Lola Run," though it turned out to be pre-"Lola."

It plays with the same theme of coincidences, though not with "what if's" of Lola or "Sliding Doors" or others in the genre. Rather, the audience knows what connects random people together to understand the misunderstandings and connections.

It's slow at spots (too much stuff that's almost French movie satires of a couple not looking at each other and smoking away) but the directing otherwise is very non-Hollywood intriguing, swooping and looking in at such odd angles, creating tension from a neat VERY unpredictable plot involving basically five or so people in a beautiful Bavaria.

I had no idea the German Alps could be so breathtakingly beautiful -- absolutely terrific stunts that will look puny if you see it on cable or video.

The pop soundtrack is again in English, but the director co-wrote the ambient music that is also used very-non-Hollywood in how it comments and builds up on the tension.

It's a bit long but a nice relief from too many Hollywood movies.(originally written 4/23/2000)

Winter Sleepers, a film Tom Tykwer made before his brilliant Run Lola Run, shows some of his development. A few of the more dramatic shots were things he tried here first. From a technical point of view, the work is excellent: editing, photography, lighting, music, sets and locations were all beautifully delivered. At times, that's enough, but this is both an unrelentingly down story and it's probably about 25 minutes too long...a rough combination. I'm glad to have seen it; I enjoy Tykwer's vision and technical crispness; he knows how to grab your attention powerfully without resorting to cloying tricks like Spielberg. On the other hand, there aren't many people I would recommend Winter Sleepers to. Great work, so-so outcome.

Naturally, everybody saw "Run Lola Run" and liked it, just as I did.

And movieplexes, eager to cash in, probably scrambled for other T.Tykwer films, which is how and way the Century Landmark Theatre in Chicago was quick to put on "Winter Sleepers"

And it only lasted 2 weeks.

Which makes me very lucky to have seen it! It was a momentous surprise- just as much "Run Lola..." was dynamic and restless, this was dreamy and magical...

Scene after scene of quiet country life- often of desperation and lost chances and graet sorrow- and often wildly sexy. I usually take love scenes in movies as a simple plot device and hardly they are more than transparent tricks to keep one's attention on ( besides wall to wall soundtrack and car chases). Having said that, I have to admit that I hardly get so wound up after a movie love scene, as I did in this one, but here they were so intense and unforgettable ..

I also loved the fact that the film did not have a major plot line, following the standard Aristotellian curve- it just was and it ended without major fireworks, because this is how life is- it happens, it flows, it is felt, it is sometimes understood, it runs forward or slowly passes by, but it is almost never simplified to a beginning and a middle and an end. Very few films ever grasp this concept or very few filmmakers can relate it, but that is why film is such an elusive art.

An absolutely stylish movie! If style is what counts for you, go watch it and start praising Tom Tykwer for his wonderful way of making movies. Tykwer has a respectable sense of colours and he is a master of conveying moods and a notion of drama to his audience. The reason why I do not like his movies is that there is nothing about them which gives them the right to be stylishly dramatic. The stories are simple and not particularly interesting but Tykwer makes us believe they are something special. The moment you realize this is not true marks a rather big disappointment.

Winterschläfer has some greatly filmed scenes and pictures, particularly when it comes to combining the beautiful white snow with the very full colours of the characters' cars or clothes. But it's a real pity that these scenes and pictures appear in such a third-rate, meaningless film. The background bears no relation to the magnitude of the pictures. It's the same as with Tykwer's next movie, the world-wide blockbuster Run Lola Run.

Admittedly, Tykwer has chosen good actors for this film. Some of them, like Josef Bierbichler, struggle with the terrible screenplay but others, especially Marie-Lou Sellem interprete it in a convincing and fascinating way.