By Julia Emmanuele, Hollywood Staff
The films have all premiered, the awards have been handed out, and the yachts are headed back home: the Cannes Film Festival has officially come to an end, which means even those of us lucky enough to spend two weeks on the French Riviera must now head for less-idyllic shores. But just because the festival has wrapped up, that doesn't mean there aren't a few films left to catch up on, and so we've rounded up the last of Cannes' biggest and buzziest films, including the winner of the Palme d'Or, a gang movie told entirely in Ukranian sign language and Kristen Stewart's best-reviewed film role yet.
Winter Sleep This year's Palme d'Or winner was also the longest film in competition, with a runtime of just over three hours. However, its epic length didn't deter judges from heaping praise on the film, which follows retired actor and hotel owner Mr. Aydin (Haluk Biginer) as he deals with the dissolution of his marriage to Nihal (Melisa Sozen). As the slow winter season arrives, the relationship between Aydin and Nihal becomes more and more fractured as she attempts to get him to face up to the issues that have made so many people turn against him. Winter Sleep is director Nuri Bilge Ceylan's fourth win at Cannes - he has won the second place award twice, in 2002 and 2011, and took home a directing award in 2008.
Given that the title virtually encourages viewers to nap during the proceedings, Winter Sleep is no chore to sit through. Most of its characters are complex and compelling, and the actors' faces, craggy or lustrous, reward fascinated study. The movie indulges one frustrating narrative trope in too many Cannes contenders: the unexplained disappearance of a major figure more than halfway through the story [...]. But as austere soap opera or probing character study, Winter Sleep validates the viewer's attention, if not its nearly 200-min. running time - make that ambling time. - Richard Corliss, TIME
That said, the performances are strong (bar a scene between Aydin and Nihal in which Bilginer suddenly plays Aydin as so one-note patronizing and condescending toward his young wife that we just wanted to punch him) and Ceylan's and DP Gokhan Tiryaki's way with composition and cinematography is in evidence even in the interior scenes (which are most of them), lighting faces warmly and designing shots richly, which needs to happen when almost everything takes place in shot-reverse-shot, he-says-then-she-says format. But the unpleasantness of being constantly trapped in the middle of conversations of increasing resentment and bitterness starts to take its toll less than halfway through this marathon-length film as we start to realize that just as the characters all seem defined by the overweening desire to have the last word in every discussion [...], it's a foible of Ceylan's too. - Jessica Kiang, The Playlist