The Civil War split the country in two in the 1860s. Friends often became enemies, families were torn apart and great loves were put to the test of time and survival. Adapted from the book by Charles Frazier, Cold Mountain, my favorite film of the year, is just such a story. And it's an incredible production directed by Anthony Minghella.

Because of his health, Reverend Monroe (Donald Sutherland) and his grown daughter, Ada (Nicole Kidman) must move from the bustling and high society of the city to rural Cold Mountain. Ada has no problems trading in her aristocratic friends and learning how to adapt to a more complicated life on Black Cove Farm if it helps her father's health.

When Ada meets Inman (Jude Law), a local farm boy, they share instant sparks, but her upper-crust morals, and his reverence of her beauty and status, keep them at arm's length. Minghella's direction and both Kidman and Law's talents are pivotal in presenting this relationship. Unsure if he really cares for her, Ada's uncertain of how to proceed with her interest in Inman, yet she flirts in an innocent way -- with Kidman instantly nailing the sweet, insecure Southern belle. 

Tragedy hits Ada twofold when the war breaks out. Inman marches off to fight, and Ada is left on her own battleground. Unequipped to take care of her crops, she has no money and must defend herself from the renegades who want only to rape the women and embezzle the lands left behind.

Ada might not have survived except for Ruby (Renee Zellweger), a brash earthy woman who bargains Ada's survival for a piece of her spread. Together the two women learn to coexist, become friends and survive the cruelty of the times and those around them. Zellweger is fantastic and hilarious as the amusing yet sensible Ruby.

Soldiers on the battlefields are consumed with fighting, but Inman spends almost every waking moment thinking of Ada and about when he can return to her. Minghella does a magnificent job interspersing historical and vivid details of the war, but he doesn't let that aspect become the focus of the story, which is really a romantic saga about hope, destiny and finding the will to live.

Other talented actors infuse the story with realism. Natalie Portman turns in one of her most provocative performances yet as Sara, the young farmwoman Inman rescues from a Yankee soldier's wrath. Eileen Atkins is wonderful as the Goat Woman who comes to Inman's rescue. Philip Seymour Hoffman astounds, as he usually does, in the role of the  wayward but amusing minister Veasey. Brendan Gleeson offers a whimsical yet poignant take on Stobrod, Ruby's fiddle-playing father.

Cold Mountain is an exquisite feat, partly due to production designer Daniel Ferretti's credit. The sets and locations capture the feel and time of the South perfectly. Ann Roth's costumes also help transport viewers back to the Civil War era. 

Highest praise, however, goes to cinematographer John Seale for the superb beauty of the film. He shot scene by scene, often using different techniques and filters to capture the various seasons, regions and moods of the story. His choice of one stock for the war scenes and a softer one for the scenes with Ada and Ruby heightens the emotions of the film and marks his expertise as a storyteller behind the lens.

Cold Mountain is a masterpiece to be enjoyed by all.

(Released by Miramax and rated "R" for violence and sexuality.)