The World of Movies: Near Winter
Written by Rachael Crawley
The World of Movies is a series that explores global cinema, drawing on films from many countries, industries and eras. This week, we revisit family ties in Norway.
Near Winter.
May contain spoilers.
An elderly man (Rolf Søder) lives alone in a remote area, in what seems to be a monotonous existence. His nephew Thomas, along with new girlfriend Frances (Stig Henrik Hoff and Edda Sharp), arrive for a visit. Their meeting is stilted, not least because of the language barrier. Nonetheless, there is clearly an affectionate dynamic between the three. The undercurrent of unease is still there, however, and will soon have good reason to come to the surface.
Near Winter (Erik Skjoldbjærg, 1993) engages in several dualities. Foremost is constant opposition between the flexibility of youth and the stagnation of old age, even as all parties behave in good faith. The uncle, who is in declining health, resists any attempts to improve his situation, even as things turn dire. The young couple try their best to convince him. A quiet battle of wills begins.
Søder has the most to do here, facing the terrifying unknowns of the future, and he fulfills his role spectacularly. His arc is well-developed and credible. While the other two characters get some good scenes, the bulk of the film is his own bleak journey, much of it alone. Søder manages to be both frustrating and utterly sympathetic. His fear, and gradual acceptance, give this ambiguous film a firm anchor.
Near Winter.
It is perhaps easy to create beautiful cinematography with Norway as a backdrop, but this film really shines, capturing the beauty of the country’s lakes in autumn. Sometimes the interiors verge on too dark, but the house itself is a great set piece. The farm’s isolation is heavily emphasized, as well as the comfort that the old man derives from it. The version I saw, on Criterion, is clearly a film transfer, with visible scratches for much of the piece.
Skjoldbjærg wrote and directed Near Winter while studying film in London, and would eventually go on to a steady career, including the original version of Insomnia. He will even reunite with Stig Henrik Hoff in the upcoming war epic Narvik.Here, he manages to convey a lot with a very spare filmmaking style, in a short runtime of thirty minutes. Centered on a strong lead character, it presents complex questions about the limits of independence – and the determination to stand alone.
Rachael Crawley holds a Master's Degree in Film and Photography Preservation and Collections Management from Toronto Metropolitan University, and has worked with film in Canada and in Europe. She adores language and cinema, and how these subjects interact with each other.