Too many fans seem to be blown away

Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

It’s sentimental, ridiculously long and only occasionally funny

Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

"A Year Ago In Winter" opens with a grieving mother commissioning a double portrait of her two children - a dance student daughter and a recently deceased son. She informs the artist that the son had died in a hunting accident - but he soon discovers it was a suicide, and also learns the daughter is hostile to the portrait project. The painter lives alone in his large studio - estranged from both his ex-wife and son, and dealing with grief of his own following the death of a close friend. The film focuses on how the relationship between the painter and the young ballerina develops from mutual antipathy, and gives them the motivation to confront the mystery of the brother's suicide.It's rare to see the life and working methods of an artist portrayed so authentically, and even more unusual to observe quality artwork integrated so organically into a film. "A Year Ago in Winter" is a subtitled human drama so it's unlikely that it'll have much mass appeal outside Germany. This is unfortunate since the film's excellent performances, cinematography and screenplay depict an unusual and intriguing relationship. Even if it remains obscure, it's still a gem.

Anthropologists will tell you that evolution has taught us to look for chains of cause and effect everywhere, even if they don't exist. This movie examines what happens when the chain is broken. Lilli (Karoline Herfurth), a capricious beauty and a dancer of some promise, is conducting an extremely private investigation to find out why her brother Tom committed suicide. Her search is all the more pressing as she feels Tom is trying to make contact with her across the chasm of death, perhaps to settle some unfinished business. For a long time, Lilli is getting nowhere since her mother (Corinna Harfouch) has conspired to gloss over the past and cover up her pain. She hires a painter (Josef Bierbichler) to restore the way things used to be. But the painter takes sides with Lilli. If the whole family business is beyond you, go anyway to revel in Lilli's man-eating, cock-teasing, heart-stopping ways. Signature line: "You're interesting, but your jumper sucks. Are you any use in bed?" The cast is classy and the movie is as good-looking as it is well-paced, but way too long. Cut the sentimental half hour at the end, and you've got an ace.

The Toronto Film Festival was seen by some as not containing very many home runs, especially after the litany of great movies from last year, from "No Country...", "Juno", "Michael Clayton" to "Into the Wild" and "Atonement". But I submit that this year was top-heavy in foreign Oscar potential, from "Waltz With Bashir" to "Gomorra" to this wonderful drama.Caroline Link is a first-rate director all the way now with this follow-up to "Nowhere in Africa". You watch this movie and you're sucked in after about 10 minutes and you have the feeling that the director is totally in control and everything is running on all cylinders.This is a family-drama based off the novel "Aftermath", written by a north-eastern American and set in New England I believe, but taken to Germany where it plays just as well because the themes are universal. Not entirely unlike "Ordinary People", the movie follows an upper-crust family that loses their teenage son in an apparent hunting accident. We spend much of the time with his older sister, a dance/theatre student, and a professional middle-aged painter who lives alone in a studio-flat as he's commissioned by the mother to paint a portrait of the two siblings as a remembrance. Lilli, the daughter, played by Karoline Herfurth (one of the unfortunate victims in "Perfume") thinks the whole idea of this painting is insane. She's wise beyond her years, tough and engaging, precocious, but tests her sexual prowess in ways that cause her more aggravation once she gets the attention which show her physical age.Her performance and the way she relates to the painter are the key in this movie, and they find they are kindred spirits, both nursing personal wounds. The parents are mostly distant, but every one of their scenes reveal a depth of feelings and signals, especially from the mother, that the younger son was the glue that held the family together.I loved this movie. I loved every single scene, and there wasn't a wasted moment. It doesn't ever strain for melodrama but sees it's characters from a level gaze, revealing wounds and themes of loneliness and shame that are very maturely handled by director Link. Kudos as well for a very good music score that serves the tone of this movie excellently.Watch for this movie in the foreign film category come Oscar time.

I am impressed after watching this movie - in Toronto - . It's a real " small" movie, though i saw it on a big screen in Ryerson Theater. I think it was even the world premiere. I was impressed through the play of the leading characters, and the theme was very interesting.But I have one question: the name of the painter (so not the one in the screening, but the real one). The director mentioned his name in the Q&A, but I did not make a note. The paintings were beautiful made and i looked for the painter in Google, but could not find a name. Only some not cached entries that the Albert&Victoria Museum should have acquainted the paintings, nut because it was not cached i can establish this.