Kinlever Kinlever
Although everything in the plot is very easy to understand, everything is explained and self-explainable, it is still hard to say what it all is about, but this is the asset of this film. The plot is taking place in a posh, expensive Swiss ski resort, which, of course, implies the other side of the coin: the everyday life of actual inhabitants of the little settlement, who live in a boring building beneath the mountain. The story starts right away with Simon, 12 year old boy, premature for his age, who steals the expensive equipment whereas finds it unattended, and resells it for cheap money to anyone interested, so that he can support himself and his problematic older sister, who keeps changing men and cannot keep the job. Although the plot takes place in Switzerland, one of the wealthiest countries in the world, where even poor or unemployed people live relatively well, it is still interesting that there are many people ready to buy apparently stolen goods if they see an opportunity to make or save money.This is not really a social drama, because we cannot see financial or bureaucratic reasons for Simon and his sister to live such a delinquent life. On contrary, it seems there are much easier ways for both of them to make the money, than to sell stolen goods.. However, living such an illegal life seems to be a mode they both accepted in order to prove something to each other or to punish themselves , or challenge the traumas of their lives, which will be revealed in the second half of the film. The film is slowly and almost invisibly developing into the resolving narrative mode, so its definitely not boring to watch. The social dimension of the film is, hence, not about the finances or material issues. Its more about the alienation among humans and ignorance towards the children, which simply does not even reflect the social status. The little Simon is passing by completely unnoticed for most of the time, wandering around the posh ski terrains, cafes, restaurants, because nobody really cares for children, nobody bothers to pay attention to the other human being. Most of the people, both guests and workers, are just visitors, in passing by, nobody cares to check up on him, or call authorities or anything. Simon is not the only child there who often wonders completely unattended. The appearance of the rich English woman, with a proper family, is more like a dream for Simon, like a proper mother he has never had, but she is not real for him, either, and the illusion is just the illusion. The acting of both leads is interesting. Film shows the development of the Simon from the boy who is a victim, and who steals to buy food, to a little criminal who at certain point simply can't resist stealing, although he does not have the immediate need for that, towards the end of the film. As for the Lea Seydoux, who plays the "sister", the role that will stay little mysterious almost till the very end, somebody has written here already that she is simply too pretty, or too young, or fragile to fit this story. I disagree with that, on contrary, the row instinct is often hidden within the fragility and prettiness, and her acting is all contained in her face which is at the same time beautiful like a doll's face and wild and cruel to the unthinkable measures. In a word, both actors deserve a praise, together with director.
The_late_Buddy_Ryan
Glad to see so many positive reviews of this one. It's a fascinating, powerful film about two young people—a potty-mouthed artful dodger and a soft-faced older girl he calls "frangine" ("sis")—trying to live by their wits at a Swiss ski resort. Léa Seydoux's sulky beauty makes her perfect for the role of Louise; Kacey Mottet Klein, then barely into his teens, gives an amazing performance as Simon. Didn't recognize Gillian Anderson as the Englishwoman who takes a motherly interest. The slangy (not to say skanky) dialogue may be useful to students of advanced conversational French. Ursula Meier's first feature, "Home," is a total headtrip, longer on concept than plot and reminiscent of 50s absurdist satires of modern life by Ionesco and Jacques Tati; this one has real visceral impact. Both "Sister" and "Home" are available on streaming Netflix.
knucklebreather
In "Sister", we find 12-year-old Simon living a desperate life with his sister Louise in cheap public housing in an industrial town near (but literally below) a ski resort inhabited by the ultra wealthy. Louise works sporadically cleaning ski chateaus, while Simon seems to be the main breadwinner through his dubious job of swiping ski equipment and selling it as a one-man black market.This sad story is presented in an atmospheric, minimalist way, making full use of the picturesque setting, yet managing to make the grandeur of the mountains and the luxury of the ski resort mostly just serve to make the viewer aware of the sadness of the two main characters. The movie is definitely sociological in nature, making the viewer wish some outside party would intervene and help with this horrible situation. No particular moral or message is presented, I'm not sure one is implied even subtly, except that the world can be a very sad place for people at the bottom, even in a place like Switzerland that is often portrayed as an ideal society (it certainly isn't in this movie).The only fault I could really find was that the movie dwells for so long on Simon's thefts in the first half of the movie, which are not all that entertaining, and beyond establishing that his life is like that, I'm not sure that we really needed the full 45 minutes of him being a ski resort kleptomaniac. Nothing else in the movie felt unnecessary, or even worthy of criticism... for what it is trying to be, this movie is quite good, especially in the second half.My only advice is to not expect anything upbeat. I found this movie rather depressing. That hardly means it's not a good movie, of course. Just brace yourself for one sad slice of life.
GUENOT PHILIPPE
Another strange, weird item from the female director Ursula Meier who already gave us HOME, back in 2008. With her, you may expect the unexpected. Surprises within surprises. The perfect example of the best offbeat french product. The tale of a twelve years old boy who goes to ski resorts, up in the Alpes mountains, in order to steal skis and many other items. He has a "sister" - Léa Seydoux - who appears to be actually his mother. A very complex relationship between the two of them, and fascinating too. And I would understand that many audiences may not get it. So unusual. But I personally love that. I won't tell anything about the "sub characters" who are involved in this unclassable movie.The ending is also confusing, and you can think about it a long time after quiting the theatre.
