Vinterkyss

A well-done film from Norway, shot in many flashbacks and side-stories. It follows a bit on how many Norwegian films are made, with the slow pacing against the crisply cold northern Scandinavian snow. The tale concerns Victoria, a female doctor in a small country town in Norway. She is just fitting in, as a boy's body is found in the snow. An autopsy is called to find if the body was involved in foul play. The story of the dead boy - a Muslim refuge immigrant - falls in with a side storyline of Victoria. Victoria is continuously calls to her estranged husbands' home in Sweden to see how her potentially ill son is doing. Along the story path, different twists form as blame for the snow-found boy's death seems to point in different directions. Ultimately, along with the mystery, the film really tells several moral tales, primarily about parenting. The physician mother who pays little attention to her own son, a dead boy's father coming to terms with his own culture's attitudes, and a suspect who is a seemingly good father, but yet has his own intentions and well-being in mind first. The cultural differences of an American audience with life in Norway might seem stark by comparison, but is well portrayed. The film itself, in how the story is told, is a bit confusing at times, but does tie in neatly at the end. Some viewers might not be able to follow all the side-flashes and flashbacks, which could slow the ending's meaning, but overall, this is a film well worth viewing. In addition, "Wynterkiss" featured a Leonard Cohen penned song, "Hallelujah", hauntingly performed by the late Jeff Buckley.

Well thats stupid in the end... But its a good movie and some decent performance. but i didnt like the ending...

ofcourse this movie made by WOMAN... so yeh . its ok if she starts an affair because of GRIEF and sleep alot of times with another man and then in the end she THINKS everything is happy? ... pfff... wat a crap.

There is no way of denying that "Vinterkyss" is one of the best foreign-language films I've ever seen. After its one-and-half hours, I sat astonished because I didn't expect such a strong film can be made from such a delicate and subtle theme. The movie deals with personal loss, grief and reactions to loss in different points of view. But it neither appreciates nor discards any one of them. It leaves it open for viewers' opinions, at the same time it leaves a social message too.

A busy Swedish doctor, Victoria, goes to Norwegian countryside after her son's unexpected death, feeling partly responsible for it. There one day she finds the dead body of Darjosh, a young Muslim refugee and now the film contrasts the sense of loss and expressions of grief of Victoria, Darjosh's parents and Darjosh himself. All of their unexpected deeds and unjustified reactions in similar mental state are beautifully depicted in the film. The film becomes successful to hold a perpetual melancholy note without being too much sentimental, perhaps the artistic use of white snow as a throughout background and the beautiful theme song help that.

The film compels us to question some the actions taken by the people who suffer from guilt or loss. The character Kai here analyzes the difference between guilt and responsibility, in that way providing a reason to accept positive things in life even after a trauma. "Vinterkyss" is not only about description of grief and loss, it's about hope too... though none of the three points of view i.e. Victoria's, Darjosh's and his parents', could have it. And for that matter it should always be said that Sara Johnsen has perhaps created a truly great film.

Making subtle yet penetrating use of what can now be called 21st century flashback--based on films like Amores Perros and several others--the director of this excellent 2005 Norwegian film, Sara Johnsen, has crafted a near-masterpiece that centers on the loss of a child. The main character, Victoria, a pediatrician originally married and in a large city (one presumes either Oslo or Bergen), has moved to a small town following her divorce and a much more traumatic event as well.

The discovery of the body of an Iranian refugee boy in the snow draws into the story the local cop, his wife--a friend of Victoria's--the boy's parents, and the local snowplow driver, Kai. The scenes of Victoria's former life with her husband and son are so skillfully woven into the pattern of this film that the contrast between that life and her present one--alone--is absolutely riveting. Her involvement with Kai is an integral part of this story and is done just as skillfully, with great depth of feeling.

The resolution of the mystery of the Iranian boy's death converges with the emotional resolution that Victoria reaches regarding her own son's loss. The plotting here is flawless, and the acting is superior. Sara Johnsen is, based on this very strong debut, a real talent to watch in Norwegian film-making. I was lucky enough to have seen this film in New York City's Lincoln Center, during their Norwegian Film Festival.

Very highly recommended; one of the top ten films of the year.

There is not a wasted word in this quiet and contemplative movie. Deep, crippling grief overpowers Victoria,a doctor, after death of her young son. Her pain is so overwhelming that she runs away from her home and life to a small town, during freezing winter. She spends her days working and grieving. In flashbacks we slowly discover what really happened. Actress Annika Hallin gave us an immaculate performance. With small understated movements and minute gestures she manages more than many an actress could with a waterfall of tears. Her frozen face and sad eyes bring the devastating pain that her character feels to every viewer.Powerful movie from Norway that will stay with us for a long time.