Winter Solstice

In Winter Solstice Josh Sternfeld's debate as a director is a true original. This is a movie that shows exactly how men communicate. Men tend to avoid emotional conversations. Some women may look at this negatively because of their frustration with this fact. Women would love to see their men discuss their inner most feelings and share in their pain and happiness.

This movie shows the truth behind men's issues with showing emotion. Many people would consider it an ego thing. I think it is more of pride in oneself. Men were brought up to stand on their own two feet, and to make it on their own steam. This is exactly what Jim Winters(played by Anthony Lapaglia) deals with in raising his two sons on his own.

Jim and his two sons have to make it on their own after the loss of Jim's wife. The three communicate in a truly male way. Not saying much, but saying a lot in how they act and react.

I could relate to this movie so well because all of the conversations I had with my father were very much the same as in this movie. If you are a man who wants to see men portrayed in the light they deserve go see this movie. If you are a woman frustrated with not being able to talk to your man, take some time to watch this movie and try to leave any prejudice at the door.

Winter Solstice is not an exciting movie by any stretch of the imagination. Its about everyday life and how men deal with their lives. Go see it, but don't expect some major complicated plot. Its as uncomplicated as most men are.

I went to see Winter Solstice in the Vancouver Film Festival this evening and was very surprised at the subtlety and restraint used by the director to ensure the film was emotional with over acting. It is a very peaceful film that explores the parents view of children leaving home as opposed to the child's view. A tremendous cast and great performances from Anthony LaPaglia and Mark Webber. Also a brief appearance from Ron Livingston in which he always has a way stealing scenes as the most likable guy in a room.

Very impressive little film with beautiful scenery of New Jersey, tremendous cast and an appealing change to cinema that is more than overwhelmed with actors who love to hear themselves speak.

Quick physics analogy here. (although I hate the discipline!) Imagine a family consisting of three forces pulling in opposite directions. What's gonna happen? Whatever exists between them is gonna start to show cracks, right? Well, even if this little scientific postulation of mine turns out to be incorrect, it still handily applies to the meditation on grief that "Winter Solstice" offers. If they were united as a group, they would be much stronger, but with the huge space vacated by a missing figure, they become a ship without a rudder.

Fans, like me, of Lapaglia, Stanford or David Gordon Green's "All the Real Girls" should definitely come away from this with some food for thought. There are echoes of "In the Bedroom", too. Admirers of any mentioned will be pleasantly acquainted with the pace this film moves at as this is not a work for those who like their cinema to run loud, obvious and at a mile a minute. If low-key indie musing is your thing though, then I would suggest you check it out. It's content not to milk its material for moments of angst, so there are few showy moments for the actors. Suppressed anger is the main vent for hidden depths, so it could have been more 'raw', but taken together it nevertheless builds to something that is genuinely affecting.

Josh Sternfeld has done the unthinkable. He has elected to tell a story merely by allowing the viewer to overhear the minimal dialogue of the characters without supplying a linear plot or explanation of how a little family fell apart.

Landscaper Jim Winters (Anthony LaPaglia is a brilliant role) is the single father of two sons - Gabe (Aaron Stanford) who is the older and looking for ways to move away from his boring little small town home to find breathing space in Florida, and Pete (Mark Webber) a confused kid who wears a hearing aide and only sporadically seems to tune in to life and school. The three men live a fairly orderly life since the death 5 years ago of the wife/mother in a car accident which Pete survived. Jim tries to maintain some semblance of family but just cannot quite step out of his ill-defined grief to get a perspective on life. Obviously some forces of change are needed to heal this family of men.

Into the neighborhood moves Molly Ripkin (Allison Janney) who is house sitting for friends while she breaks away from being a paralegal to try her hand at making unique jewelry. She connects with Jim, tries to connect with his sons, but at the least she introduces a figure of gentle concern and focused presence. Pete finds some understanding from a summer school teacher (Ron Livingston) and begins to see some concept of meaning to his life. Gabe's decision to leave for Florida's promise of better life means he also must say goodbye to his only rock of realism - his girlfriend Stacey (Michelle Monaghan). With all of these elements of change in the air the story just ends. What will happen now is left to us to decide.

Yes, the film is slow moving, relying on minimal dialogue and more on silences and gazes. But Sternfeld opens this little family drama in such a tender way that we find ourselves wholly committed to the plight of each character. He makes us care. And that is the true beauty of minimalist art in film-making. The acting is first rate, with LaPaglia and Janney giving performances that deserve attention come awards time. Highly recommended for those who appreciate quiet sensitive films. Grady Harp

"Winter Solstice" is a quiet, almost all-male counterpart to "Imaginary Heroes," dealing with the same theme of family grief, and was even filmed in the same town of Glen Ridge, NJ.

Debut writer/director Josh Sternfeld perfectly captures the inarticulatelessness of working class guys, particularly in father/son and brother/brother interactions.

Anthony LaPaglia as the landscaper dad and Aaron Stanford as his restless older son add to the minimal script with on screen charisma. It's sweetly charming how absolutely clueless they are in their lack of communication with the women who are attracted to them, but Allison Janney and Michelle Monaghan are overly understanding minor characters in their intersections with the dad and older son, respectively. I presume this is to emphasize the hole in their lives caused by the absence of the mother.

The problem is that without either more intervention by the women or the alcoholic violence of Sam Shephard's male family explorations, authentic looking and sounding guys hanging out together don't do very much or resolve issues. Pretty much the only plot point is the older son's gradual decision to leave --though I was surprised he has LPs to pack up--and how the other characters react to that.

It was nice to see Brendan Sexton again, more filled out, but he looked distractingly like the younger son played by Mark Webber so that I was confused at first that he was the best friend not the brother.

John Leventhal's intricate guitar playing on his original score is almost distractingly good. The song selections are beautiful sounding, though not particularly illustrative.