Greenes Please don't spend money on this.

Phonearl Good start, but then it gets ruined

TaryBiggBall It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Clarissa Mora The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

supadude2004 A most brilliant, brilliant movie. Rohmer here exhibits nothing but true mastery in this most insightful work on the power of love over all else. This is a movie for romantics, dreamers and those who have known what it is to live for love.Being "a Rohmer", the movie is by no means fast paced but as each minute passes you lose track of time as you become ever more consumed in the story; and it's a story whose tension almost effortlessly builds as the movie progresses; fulfilled in part by Rohmer's brilliant direction but also by the exceptional performance of Charlotte Very. Her acting in this movie is so brilliant that it's sometimes difficult to recall that you are actually watching a fictional movie and not a fly on the wall treatise on the nature of love that never dies. The question one must repeatedly wonder concerns the nature of love and more particularly whether one can ever love other persons the same way you loved your first? Whether your views change or not from watching this movie, it would be difficult not to be moved by its tale. All I can say is that by the film's ending I really was hungry for more - which rarely happens to me when watching movies! That being said, this is definitely not a movie for everyone: If your "top ten" includes Transformers, 300, Fight Club then you should steer well clear of Conte D'Hiver. The action in this movie is only of the psychological sort. Rohmer fans will (needless to say) be instant converts. But if you enjoyed movies as diverse as Before Sunrise, or even Casablanca you'll certainly not want to miss Conte D'Hiver/A Winter's Tale. Without a moment's hesitation, I give it 9/10. And so should you! Please watch it & see why...

Nazar_Vojtovich I just got a chance to see this movie after seeing all other Rohmer's movies I could get my hands on. After seeing it, I must say it's a superb Rohmer, one of his best, certainly the most accomplished of his Four Seasons, highly reminiscent of My Night With Maud, which still remains my favorite film of the perpetually youthful director. Here you will also find a philosophical discussions on the nature of beauty, love, Pascal's wager (familiar item for a Rohmerian, isn't it?), discussion on personal ('intimate') vs. Catholic faith, the immortality of soul. Of course, the heavy doses of philosophy are beautifully integrated into the film, just like in Maud. These discussions seem organical, natural -- the characters really mean what they say here. Like one character said to the main heroine, "You're articulate, because you let your feelings talk" and "I love you because I can read your heart", even if the heroine seemingly has a change of heart every 5 minutes :) I must applaud the lead actress(who's also a great beauty) for her heartfelt, genuine performance. I felt like I knew this woman somewhere before, that I could understand her every action and her every thought. The film is also bittersweet, like a many Rohmer films, yet in this film the melancholy feeling is more pronounced, somewhere on par with 'My Night with Maud'. It also reminded me of Richard Linklater's "Before Sunrise"; this film beautifully depicted what feelings Linklater's Jesse and Celine might've had during those long 9 years of separation -- the feelings of longing, of hope, of great joy they'd find in meeting each other again, of "the joy so great it'd be worth giving your life for", in the main heroine's words.What else to say -- I loved these people, they felt real, genuine, and above all hopeful and blessed by love. I loved Felicie and her absent Charles as much as I loved Rohmer's Maud and Jean-Louis, Linklater's Jesse and Celine, David Lean's Laura and Alec -- that is to say a lot. By the end of the movie they've become my friends.

writers_reign With the exception of Godard, of whom one was enough, I've seen fewer films by Rohmer than by any French director - this is about the third - and I can't honestly say that I'm in a hurry to see any more. If, as in the case here, I see a DVD in my library that carries a modest rental I'll give him another try but so far I've seen nothing that makes me want to dash out to Blockbuster and rent everything I can find by him. Those Rohmer films I HAVE seen are, to some extent, interchangeable but that's not the same as having a STYLE; in Rohmer's case it merely means that the films are clearly shot with a minimum crew, next-to-no budget and a cast of unknowns all of whom appear to be addicted to Valium inasmuch as there are no violent outbursts, tempers are kept strictly under wraps and in lieu of histrionics we get philosophical discussions. This time around the leading female character indulges in a holiday romance that leaves her pregnant and ironically for a filmmaker who sets such great store on philosophy she refuses to dismiss it philosophically as just that, a holiday romance, as ninety nine out of a hundred would, but persists in viewing it as the love of her life. Despite affairs with two other men, both more than happy to settle down with her AND her daughter, she rejects them both until, in a scene worthy of Hollywood at its schmaltziest she boards a bus and takes a seat facing her long-lost love. WOW! Okay, don't get me wrong, it's watchable but please don't tell me it's anything else.

Paul-250 The second film in Eric Rohmer's Four Season series, Conte d'hiver is the story of a woman (Charlotte Very) who meets a man she falls in love with (Frederic van den Driessche) and has a daughter by (unknown to him) after they have said goodbye and she has inadvertently given him the wrong address, making it impossible for him to find her again. Five years later we find her in a strange menage a trois, attracted to, but not in love with, two different men each of whom she leaves for the other. Offering her different things, she is unable to choose between them, aware that she is still in love with the father of her child. Like its predecessor in the series, Conte de printemps, and so many other Rohmer films, this is a film replete with reflections on love and life. It is also a film about integrity, and the costs to oneself and others of emotional faithfulness to a lost love; indeed this is what gives the film its focus, as the purity of her lost love stands in counterpoint to the banal and seemingly meaningless choices that are available to her in her daily life. Charlotte Very's performance makes us care what happens to her, and the poignancy of her dilemma is brought home towards the end of the film by 'a play within a play' - a scene from a sumptuously produced version of Shakespeare's A Tale In Winter which should be required viewing for anyone who believes that Shakespeare and his contemporaries have nothing to say to a modern audience. This is a beautiful and moving film, which I would commend to anyone interested in the complexity of human emotions and responses.