Andrew Haigh’s new outing is a slow, reserved family drama which is never fully realised writes Carter Smith
A Long Winter is aptly named for Andrew Haigh’s follow-up to the soul-shattering All of Us Strangers. Like the time it takes for the snow to melt when Spring starts to bloom, this intimate family drama is a slow film that seems much longer than its 118-minute runtime.
Adapted from the 2006 short novel of the same name, it follows a family in the 50s secluded at the top of the Colorado mountains. Social interaction is hard to come by outside their four walls. Their closest town is 15 miles away, and the few neighbours they have are at war with the father.
After her youngest son, Tommy (Kit Connor), leaves for the army, Louise (Caitríona Balfe) disappears without a trace during the first blizzard, leaving her husband Lester (Ebon Moss-Bachrach) and closeted son Mike (Fred Hechinger) alone reshaping the pair’s relationship.
From this point onwards, it plays out as a reserved coming-of-age story for Mike, which is never fully realised. Starting as naturally taciturn, Mike grows into his own man, becoming defiant in the face of adversity. Each day is spent traversing the snowy mountains in hopes he can find some closure on his mum’s sudden disappearance. In that aspect, Haigh succeeds.
While Haigh’s restrained storytelling is powerful when it comes to Andrew Scott’s character’s sexuality in All of Us Strangers, it isn’t as impactful here. For the majority of the film, we only see brief fantasies and glances at Mike’s sexuality. It’s not until near the end, when Lester hires Jimmy (D’Pharaoh Woon-A-Tai) — someone who isn’t bound by patriarchal views — to work around the house, that he realises there is a life where he can become a true version of himself.
The issue being, however, the middle of the film is so subdued and bordering on repetitive that by the time this development starts, the film has already lost me and its conclusion isn’t satisfying enough to win me back.
Perhaps unfairly, but this film suffers most because it loses its best asset too soon. Balfe’s incredible emotional performance, as she wrestled with being stuck and longing for more, was a clear standout. I understand the film can’t progress until she leaves the frame, but I feel it could have done with having her wrestle with the monotony of her life simmer for a little longer.
Ultimately, A Cold Winter hinges on what style of film works for you. If you are someone who values a slow, meditative narrative, then I can imagine you having a great time with this. I do appreciate that, but I needed a bit more umph from the performances or the story to kick in quicker. Just like the mountains that surround them, A Long Winter looks beautiful, but feels empty.
Rating: 3.5/5
- A Long Winter releases in UK cinemas on January 15th, 2027
