The title of the film functions as a metaphor, meaning a sudden encounter with loss, grief and affliction. Victoria, the protagonist, is the one who was "kissed by winter". She escapes from Stockholm and holes herself up somewhere in the north of Norway in order to forget about her past. Then, unexpectedly, she discovers that she is not the only one who has to deal with a personal tragedy.
Victoria's past is always present in her mind. We learn about that not only from the flashbacks of her former life, but also from the little gestures she does. When she examines the back of a little boy, one can sense that she thinks of her own son. Later she repeats this gesture when she makes love to Kai. No matter what she does, Sune in always in her thoughts. Furthermore, many children present in the story signify the embodiment of her sense of guilt. Thanks to many close-ups of astounding Annika Hallin, one's overwhelming impression is of an almost tangible tragedy.
Some of the characters seem to play a role of "a mirror", in which Victoria can see her own reflection. For example, Kai was also abandoned and accused of murder, though not explicitly responsible. Therefore he can explain her - knowing from his own experience - that guilt and responsibility are two different things. On the other hand, Darjosh's father appears a very strict and demanding parent, just like Victoria used to be. But is that enough to blame both of them for the deaths of their children? Apparently, none of the characters will ever recognise the entire truth about Darjosh's death. The crime investigation woven into the plot fails to directly name the responsible. Clearly, some issues are beyond the scope of morality and cannot be easily judged. This message is emphasised by the usage of the song "Hallelujah" repeated in the film twice and performed by the late Jeff Buckley, who himself died in similarly unexplainable circumstances.
In order to get back to her normal life, Victoria has to accept the reality as it is. She also has to "unfreeze" her emotions and learn how to forgive. Sara Johnsen does a fantastic job, portraying her character's gradual change in a slow pace. This meditative and moving film leaves the door open for a little hope at the end.
Victoria's past is always present in her mind. We learn about that not only from the flashbacks of her former life, but also from the little gestures she does. When she examines the back of a little boy, one can sense that she thinks of her own son. Later she repeats this gesture when she makes love to Kai. No matter what she does, Sune in always in her thoughts. Furthermore, many children present in the story signify the embodiment of her sense of guilt. Thanks to many close-ups of astounding Annika Hallin, one's overwhelming impression is of an almost tangible tragedy.
Some of the characters seem to play a role of "a mirror", in which Victoria can see her own reflection. For example, Kai was also abandoned and accused of murder, though not explicitly responsible. Therefore he can explain her - knowing from his own experience - that guilt and responsibility are two different things. On the other hand, Darjosh's father appears a very strict and demanding parent, just like Victoria used to be. But is that enough to blame both of them for the deaths of their children? Apparently, none of the characters will ever recognise the entire truth about Darjosh's death. The crime investigation woven into the plot fails to directly name the responsible. Clearly, some issues are beyond the scope of morality and cannot be easily judged. This message is emphasised by the usage of the song "Hallelujah" repeated in the film twice and performed by the late Jeff Buckley, who himself died in similarly unexplainable circumstances.
In order to get back to her normal life, Victoria has to accept the reality as it is. She also has to "unfreeze" her emotions and learn how to forgive. Sara Johnsen does a fantastic job, portraying her character's gradual change in a slow pace. This meditative and moving film leaves the door open for a little hope at the end.