In Un Coeur en Hiver, the late Claude Sautet looks into the heart of Stephane, a master violin craftsman (Daniel Auteuil), and finds only ice. Stephane is an observer of life, not a participant. The film reveals the consequences of his emotional isolation, of what he has to give up in order to maintain his solitude. Stephane seems ready to leap into a passionate relationship when Maxim, his partner for many years, falls in love with a beautiful young violinist, Camille (Emmanuelle Beart) and introduces her to Stephane. Stephane, however, cannot relate to either the friendship of his partner Maxim or to his growing attraction to Camille and becomes distant and manipulative.
Held back by his reluctance to take risks, his relationship with Camille provides him with the forms of intimacy but without the substance. No pat psychological interpretation is provided but is left to the viewer to interpret. The camera is reserved and intimate. For the most part, emotions are conveyed through glances, expressions, and silences rather than dialogue. At the end, however, Stephane finally recognizes that "there is something lifeless inside of me." As his friends depart, he is left sitting alone at a restaurant table, poignantly feeling his loneliness. Perhaps this insight is the beginning of his transformation. Auteuil's outstanding performance makes him a likable figure, a really sweet guy beneath his cold exterior. With the lovely sonatas and trios of Maurice Ravel as a haunting background, Un Coeur en Hiver is a sad film but one that is beautifully realized.
Stephane is a recluse, tuning and mending violins while close friend Maxime promotes beautiful young violinist Camille. When he tells Stephane he is in love, Camille appears to go into mourning. A finger exercise in which Sautet plucks miracles of intimacy, pain and regret out of a simple look or touch.
Les Enfants du Paradis 
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Un Coeur En Hiver 
