Gives a powerful impression of long, actual winters, of the mere logistics of living through them, and also the fun and fellowship to be had. The small film stock is beautiful. So are the people, and that red coat. The skimming, wobbling, swish-panning gives us to understand that this is not commercial film, and that it doesn’t want to be. Very virtuous, but one does wonder if a little steadiness, a little duration can’t be utilized for clarity’s and photography’s sake. Interesting: there are stretches in which Levine cuts and cuts and cuts, where splice and glue actually take over as the film’s subject. This is okay as alienating device, and extremely okay as a celebration or even plain documentation of the film gage.