When you approach an independent film set in Edinburgh, you're probably expecting gritty social realism, especially when it's helmed by former punk rocker Richard Jobson. But in A Woman in Winter you'd be forgiven for thinking the setting is Paris. The romantic, elegant side of Scotland's capital, often ignored in film, is captured beautifully by Jobson. The streets and locales of this Edinburgh are also depicted as a depopulated (if only that were true to life) and almost otherworldly space, which is apt as the film sets its sights on issues far beyond the stars.
The narrative is a fusion of science fiction, romance and ghost story. You will be pleased to learn that the romantic aspect is not a cliched gratuitous plot device for the characters, it is integral to the tale. Michael is an astrophysicist who falls in love with the mysterious Caroline and their relationship begins to resonate with the time travel theory he is working on. The true meaning of the narrative and the characters is pointedly ambiguous and left to the discretion of the viewer. Like any science fiction film worth its salt, there are multiple conclusions to arrive at, and none is hinted at as being the stronger by the director.
As well as his background in music, Jobson has also made a living as a film critic, and his experience shows. For the most part he makes the most of his tiny budget, and the film generally looks and sounds impressive. However, some of the techniques employed are ill-judged and give the impression of a director experimenting for the sake of experimentation. It's often intrusive, unnecessary and is reminiscent of television productions. Jobson approaches filmmaking with all the wonder of a film student playing with all these new tools at his disposal. Suffice it to say, none of these abstract shots or editing techniques adds to the film and often prove detrimental.
This is purely arthouse cinema, an entirely auteuristic vision offering very little for the average mainstream viewer. On DVD, interest is bolstered by the addition of a director's commentary. Those who know Jobson will be well aware of how he is never less than enjoyable to listen to, and his commentary is both insightful and entertaining. A making of documentary also caters for those looking to make sense of the film. A Woman in Winter is not without flaws, and the overlong exposition could scare many off, but it's admirable for its ambitions and the single-mindedness and narcissism of its creator.