Sister (2012) User Reviews (21)

Brilliant, disturbing

[dfranzen70 · 8/10 · 8 October 2012]

In Sister, a boy helps he and his sister survive by stealing from rich folks at a posh ski resort in the Swiss Alps. But the boy and his sister are both a bit more than each seems in this provocative psychological, daring thriller from Ursula Meier.

Young Simon (Kacey Mottet Klein) has procured a season pass to a winter ski lodge. Each day, he rides up the giant lifts to the top of the mountain, where he swipes skis, poles, boots, gloves, and other paraphernalia, selling them to the less-fortunate in the town below. He does this to support he and his sister Louise (Lea Seydoux), an unfocused, somewhat-selfish wanderer who appears too have little concern for the well being of herself or for Simon, flitting from job to job and from lover to lover like a forlorn mosquito. So it's entirely up to Simon to keep them afloat, and he's a quick learner. Even at age 12, he can cook and clean and knows ski equipment better than even expert skiers, even though he is no skier himself. He's an entrepreneur, albeit in a dangerous career.

He sells to workers. He sells to kids. He takes advance orders and knows how much to charge. He's not intimidated by anyone. He is, at his tender age, a master thief, knowing where to stow his ill-gotten gains and how best to get them back down the mountain. One can argue that he does what he has to do, since his youth prevents him from getting an authentic job and the adult in the family is wildly undependable. He takes on an apprentice at one point, goes into cahoots with another at a different juncture. But a few of his schemes do not end favorably for him.

Simon is friendless, utterly alone. But his relationship with Louise is quite complicated. There are tender touches. Inappropriate remarks. Lingering glances. Is this simply typical preteen behavior, or something more? With no other friends - and apparently, no school to serve as a social function - Louise is about the only female with whom he interacts on a regular basis.

He meets a visiting family - mom, two boys - at the resort. Mom is kind and buys Simon breakfast, even though he is loaded with cash. They bond a little; she seeing perhaps a lost soul whose story of no parents or siblings isn't ringing true, he seeing a mother figure he desperately desires.

The twist in the movie makes its appearance just about halfway through. It's surprising that it arrives so early, and when it does it passes two crucial tests: it is both out of the blue and completely plausible. The perfect twist.

Obviously, the twist coming so early in the film means that the movie's real enticement comes in this major revelation - well, a revelation to the audience, not to the characters. At first, we're not sure who is telling the truth; are we being snookered? When we discover the answer to that question, the relationship between Louise and Simon takes on a whole new dimension.

Both Klein and Seydoux, playing characters who are almost aggressively opposite from one another, are phenomenal. Simon longs for a better life even as he excels in his current role. Louise, a tragic heroine, is mentally scarred, unsure, unhappy, and besieged by doubt. She seems of no use to him, and yet he pushes hard to make a life for them both.

The ending is one of those that will leave half of the audience wondering if a reel was left off by mistake and the other half nodding appreciatively. It is not a neat ending; it is awash with symbolism of the direction each lead's life is headed. And set against the majestic beauty of the mountains, it is a strong, stark, and beautiful finale.

the social ladder as a mountain

[videoblomov · 7/10 · 12 December 2012]

Ursula Meier's "Sister" is not an easy film. A boy, Simon, survives in the fringe of a mountain –and of society-, stealing from the visitors of a skiing resort. His only companion, quite unreliable, is an older sister, Louise, whose ups and downs force Simon to act way above is age. We don't know anything about how they ended up in this situation, though at midpoint of the film we'll learn the truth of their relationship. The background and the weather are as cold and unpleasant as the relationships portrayed, while the deadpan style of the film makes not a single concession to sentimentalism. Under these premises, Meier has built a forthright movie full of subtleties: not an easy film, but utterly rewarding.

Other reviewers here have already pointed out the duality of this high/low setting, brilliantly used by Meier. It mirrors the class distinction, of course, and their respective environments: the white, unspoiled snow on top of the mountain for those with money, against the melted mud on the hillside where the underprivileged survive. Simon, however, doesn't look for the wealth of the mountaintop. Surely, he strives for an improvement in his life, but his stealing is merely practical –he needs to buy food, toilet paper-. No, what Simon yearns for is tenderness, for a caring mother, for a life in which (the lack of) money doesn't spoil relationships. Downtown, Simon has to be on permanent watch out; up in the resort, he can still pretend to be a kid.

This fight against loneliness drives both siblings. What Louise cannot find in Simon, she looks for in random boyfriends. What Simon cannot get from Louise, he tries to get from a woman he stalks at the resort. However, those relationships are built upon lies that hurt each other, driving them further apart.

Needless to say, Simon won't fare well; eventually, his pretense falls when the woman he wants as a mother finds him cleaning her cabin: Simon can't any longer hope to be her son if he is just a chalet bellboy. To make things worst, he's caught stealing the woman's wristwatch. Was his stealing a betrayal, a payback for her rejection? Or was he taking a souvenir, a keepsake of the mother he lacks? It comes to my mind a little essay by Jean Genet, "L'Enfant criminel" where the author points out the symbolic value of the crime's object in the mind of the young criminal. It is not surprising, therefore, that the watch he has stolen is found on his crotch. Still following Genet, what turns someone into a thief is not the act of stealing, but the word "thief" directed at him. The word, the injury, is what creates the separation from society, a separation that will lead to the development of a criminal moral and the eventual transformation into a thief. Simon struggles to elude this process, while at the same time is doomed to it.

At the end of the film Simon returns downtown, accepting the place where he belongs. There's no other possible direction for him: once that the snow melts at the resort, there's no tenderness to be found there. Probably, as one character says, Simon will steal bikes through the summer. Nothing has really changed for him; he'll keep surviving at the margins of society. But, in this hopeless ending, there's the hopeful note too. Simon is going down, yes, hanging inside a cable car, when he crosses another cable car that goes up. His "sister", obviously worried, calls for him. These siblings, after all, do care for each other, and that's something that the lack of money cannot change. They are not alone.

More fascinating as voyeuristic crime drama than fairly obvious dissection of broken filial relationship

[Turfseer · 6/10 · 17 January 2013]

'Sister' is the Swiss entry for both the Academy and Spirit Award nomination in the best foreign language film category. It's a very well-acted, bleak portrait of the relationship between a 12/13 year old boy, Simon, and his older caretaker, Louise, played by Léa Seydoux.

HUGE SPOILERS AHEAD. For a good part of the film, we're led to believe that Louise, is Simon's older sister, after Simon claims that their parents were killed in a car accident. Eventually, however, it's revealed that Louise is actually the child's mother.

Most of the plot takes place at a Swiss ski resort, where Simon mainly pilfers expensive skis and ski accessories from well-off, unsuspecting tourists and supports himself and his mother, by selling the items (principally to employees at the resort). Along the way, Simon befriends a British resort employee who helps him sell some of the stolen merchandise. On one occasion, a tourist catches Simon stealing from him and the child suffers a beating, resulting in a bloody nose and bruises on his body (do you really believe, no one at the resort would have called the police on their cell phone, when they saw an adult attack a young child?).

Louise makes it clear to Simon that she never wanted him and refuses to hardly parent him at all. The unloved boy is so desperate for affection that he offers her money, if she'll just cuddle him in bed. Meanwhile, Louise refuses to support the two, and for most of the film, selfishly takes money from the boy to support herself. She also seeks out abusive boyfriends, ignores the effect those relationships have on Simon and often leaves the child to his own devices.

It becomes rather clear that Simon's criminality is tied directly to Louise's neglect and extremely poor parenting. You'll have to suspend your disbelief quite a bit to believe that there are people as extreme as Louise. In real life, wouldn't a narcissist like Louise, simply make sure Simon goes to school, to keep him out of her hair? And if he ends up as a truant, the authorities would have no problem shipping him off to reform school. Yes I know she's supposed to be out of it, but it just seems a little too convenient, that no ever reports her and little Simon gets away with his pint size theft routine, for so long.

And also what exactly is director Usrula Meier's overall point? That without love, kids can end up with some really bad problems? Even before Simon poaches the watch, causing Louise to lose her job, we pretty much realize that Simon's downward spiral will not reverse course (in other words, we GET the point that this indeed, is a TRAGIC situation, way before the denouement). Yes, it's clever and dramatic to show the two going in opposite directions on the cable lift at film's end, symbolizing that Simon will not get the help he needs from his mother, but how about letting reality intrude into the story for a minute? The appropriate ending would be for some social workers to intervene and place the child in foster care or some kind of institutional setting. But this film is more about hitting us over the head about the 'tragedy' of this grim relationship, instead of establishing a proper verisimilitude.

'Sister's weak point is the rather one-note, simplistic portrait of the mother from hell. Are there people like that in real life? Maybe. But usually there's some kind of motive (is she a drug addict? Prostitute?)--it's all so sketchy. Why not find out a little bit more about her? Or is she so one-dimensional, that there's nothing more to learn?

What keeps us interested is how far Simon will sink into the morass of criminality. In that respect, Meier is more successful in fascinating us as voyeurs in a crime drama, than the more unexplained and obvious dissection of a broken relationship between mother and child.

Up and downhill kid

[searchanddestroy-1 · 21 April 2012]

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.

Skiing, stealing, siblings ...

[twilliams76 · 7/10 · 7 January 2013]

Switzerland's entry for Best Foreign Language film (it will or won't be nominated come Thursday morning although it has already been announced as one of the Top 9 contenders by that organization) is about young Simon and his older sister who live in a housing complex at the base of a mountain housing a luxury ski resort/chalet.

Simon (Kacey Mottet Klein) steals from the rich customers who have so much they are none the wiser and his sister Louise (Lea Seydoux) wanders aimlessly from man to man looking for a possible guy to take them both into his life.

It is an honest, unflinching composite of poverty and survival and Mottet Klein does an outstanding job in his role as someone who takes chances because he has nothing (or everything) to lose. Seydoux again impresses (this time in an un-likable role) as her Louise is one who needs to grow-up and learn a thing or two; but without knowing much of where these two came from we cannot fault either of them too much. Gillian Anderson (The X-Files, The House of Mirth) shows up in a few scenes as an English tourist Simon wishes to impress but this story belongs to brother and sister.

We are all so quick to judge but oftentimes we know nothing of what we are talking about. Sister asks us to take a glimpse of another life and imagine ...

Good performance from the little guy

[SnoopyStyle · 7/10 · 16 July 2014]

Simon (Kacey Mottet Klein) is a thief stealing from the foreigners at the ski resort. He lives with his aimless irresponsible sister Louise (Léa Seydoux). She's left yet another job and has questionable relationships. He gets caught by resort worker Mike (Martin Compston) but instead he starts selling the stolen skis to him. He takes bigger and bigger risks. He's an expert liar. He befriends resort patron Kristin Jansen (Gillian Anderson) pretending to be a rich kid.

It's a pretty good performance from Kacey of a ballsy character. It does need to amp up the danger for the boy. While the reveal is great, it doesn't really raise the danger. Maybe if they could add a thug looking for money or children services looking to take Simon away. Also it would be great to dig deeper into Louise's problems. Overall this is a little bit disturbing but needs to raise the tension much higher.

Sister is about relationships between family

[dalydj-918-255175 · 7/10 · 29 December 2012]

"This film builds up a strong relationship between these two actors who play the parts to natural it makes the film better because of the chemistry the main two actors share"

Mother and son relationships are not usually explored much in cinema but when they are they usually are made in broad comedies of how un-advanced the mother is, well this film does not go for the comedy but more for the drama the two can have. Simon (Kacey Mottet Klein) is a 12 year old boy who steals to make a living for him and his sister/mother Louis (Léa Seydoux). Louise is first believed to be his older sister but Simon tells someone Louise was dating that she is his mother which she wanted no one to know about. One day stealing Simon is caught by Mike (Martin Compston) whom he goes into business for a while with when stealing such equipment as goggles, skis and gloves.

The relationship between Louise and Simon did seem different at first because he was taking care of her more even though she was older. Also the reveal that she is his mother was surprising to me and when I do think about how the two acted around each other I could see there was something different about them being brother and sister. The job Simon had seemed funny to me that he had gone on for so long stealing and never getting caught by anyone until Mike decides to go into business with Simon which seemed bound to fail eventually. The film was mostly about Louis and Simon but we did get some scenes with Gillian Anderson as a guest who was skiing and on her holiday and she seemed to act like a missing mother figure for Simon that he never had. The ending of the film where Louis and Simon pass each other going in different directions I believe was a message for how the two had acted throughout the film.

Kacey Mottet Klein plays Simon and he was actually great in the role I thought. He was called to be annoying at times but other times when he had to get dramatic I thought that he handled it quite well. He also was able to play the funny when scenes when he was asked to play them by the writing. Léa Seydoux plays Louise and she may be soft at times only giving a dramatic look but like Klein when she was asked to be emotional she was the one able to pull on my heart strings. The relationship was fully believable to me because of how these actors played so well off of each other. There were also some smaller parts in the film and the standouts of them were Martin Compston and Gillian Anderson.

The film is OK with scenes between Klein and Seydoux the best in the film as we see the conflict between them but also the love they share because they are mother and son. Some scenes were not needed but it did not slow down the fast pace of the movie.

MOVIE GRADE: B- (MVP: Léa Seydoux)

Devastating

[howard.schumann · 10/10 · 10 April 2013]

For scrawny 12-year-old Simon (Kacey Mottet Klein), life is up and down. Going up, however, does not mean moving up the ladder of success but only riding a cable car to do his "work" at the top of a mountain ski resort, a playground for wealthy tourists. Ursula Meier's heartbreaking Sister, Switzerland's submission for Best Foreign Film at this year's Oscars, is built around the continual movement of the cable car, moving up to the white wonderland of the glittering slopes, and down to the crumbling housing projects that look out on a desolate and muddy industrial plain. Like the marginalized poor in America, Simon is an unnoticed presence.

He is a crafty entrepreneur whose work consists of stealing skis, gloves, goggles, sneaking in and out of locker rooms, emptying coat pockets and grabbing sandwiches and anything else he can from knapsacks to bring home to his older sister Louise (Lea Seydoux), a lay about in her early twenties who cannot hold a steady job and goes from one boyfriend to another. For Simon, a sled is not a fun ride in the snow but a means to stay alive, a tool to strap stolen skis and drag them down below to restore and repair so he can sell them to the highest bidder. Simon, of course, rationalizes his actions by saying "They don't miss them. They just go and buy new ones." Supported by a solid script by the director and Antoine Jacquod and the striking cinematography of Agnés Godard (Beau Travail, The Dreamlife of Angels), Sister takes place during the ski season from Christmas to Easter, as the camera peeks behind the glamour. When Simon is caught in the act of stealing by seasonal worker, Mike (Martin Compston), a friendly Scot, Mike automatically assumes that he's stealing to buy more hi-tech gadgets. Taken aback when he learns that the boy is stealing to buy food, toilet paper, and other necessities to keep him and his sister alive, he joins with him in his questionable activities.

The early sequences have a bounce and energy that makes it feel as if the film may be moving in a comic direction, but comic it is not. This becomes very apparent in the film's second half when another (somewhat strained) dimension is added to our knowledge of Simon's love-hate bond with his sister, and we watch helplessly as their interaction changes from playful to a no holds barred display of anger and frustration. While some may see Simon as a criminal in training, Klein makes him lovable enough for us to view him as a confused little boy, desperate for affection, at times acting like an adult and at times a forlorn child. We know instinctively, however, that unless there is some sort of intervention, the path Simon is on will lead to a dead end.

Unfortunately, however, there are no parents (foster or otherwise), no social workers, no schools or teachers in sight, not even police around to put up a stop sign. People walk by him as they pass by the homeless every day in the streets of most big cities, looking away, thinking "how sad." Nominated for Most Promising Actor at the 2013 César Awards, Kacey Klein's natural performance is one of remarkable depth and understanding. He does not emote or think the role, he lives in it and we are drawn into his life and experience his loneliness as our own. Also remarkable is Lea Seydoux who brings the irresponsible but ultimately sympathetic Louise to life.

Based on Meier's memories of growing up near a ski resort near Geneva, Switzerland and her recollection of a little boy who was known as a thief, Sister is a devastating look at the result when an unwanted child is brought into the world. We discover how truly alone Simon is in scenes where he has to pay Louise to give him a hug, and when his neediness pushes him to cling to the mother of two boys (Gillian Anderson) who buys him lunch at the resort. If, as Victor Hugo said, "Life's greatest happiness is to be convinced we are loved," Meier makes it evident that growing up in a world without love, even the most skillful and resilient child cannot fill the gaping hole it leaves.

The complexity of family is played on screen and throughout the film you watch one do what it takes to be loved, as the other seems almost indifferent at times.

[Amari-Sali · 7/10 · 14 January 2014]

After seeing Blue is the Warmest Color (or Colour) I thought I should look for other films Lea Seydoux did, and months ago I was recommended to see this by someone on IMDb. So I finally got around to getting this movie, which likely will not be the last time I review a Seydoux movie, and though the movie wasn't on the level of Blue is the Warmest Color, it still was quite entertaining. Well, at least the second half.

Characters & Story

In the film, our focus primarily is on Simon (played by Kacey Mottet Klein) who helps Louise (played by Lea Seydoux) with the bills by stealing from the local ski resort's tourist and reselling their merchandise. The two live close enough to said ski resort for Simon to "find" a lot of skis, goggles, gloves, and pockets to go through, to make sure him and Louise have food on the table. And during the first half of the movie it seems like this is all Simon does as Louise wanders about with whatever boy fancies her at the time.

However, in the middle of the film a bomb is dropped and quickly the tone of the film changes and it goes from having this almost coming of age vibe to getting a bit darker, and a bit more morose. I won't reveal why, but with something Simon says, we see his and Louise's relationship in a whole new way. Then, from that point of the movie onward, the focus is on the layers to that issue which, though perhaps simple on paper, are portrayed with such complexity that you almost wish this bomb was dropped sooner in the film.

Praise

What I must admit is that I feel like the climax was quite a bit surprising and did help shake the movie. For the first half of the film was really ho hum, but once the climax hits is when you get great performances out of Klein, as well as Seydoux. As in Blue, Seydoux plays a girl full of mystery, but with her stripped of Emma's education and opportunities, Louise is simply someone trying to survive the best way she knows how, and while she doesn't outdo Klein as she outdid Adele Exarchopoulos in Blue, she remains an essential force of which you can't picture the movie without, be it her character or simply her.

But Klein is perhaps truly the one who deserves praise. For though Seydoux maybe putting him up on her shoulders, the boy makes you feel for his character who seemingly just wants the most genuine love and affection from Louise, even if it means paying for it. I mean, to watch him, a 12 year old, be in a helpless situation with someone who he loves, who would openly tell him no one wanted him when his mother was pregnant, is a bit heartbreaking. And yet, the woman who tells him this he loves for there is really no one else anymore. So no matter how mean, or how much they may struggle, she is his everything and he accepts her for reasons which sometimes are hard to understand.

Criticism

But, I must say that when I first started watching the movie I was ready to turn it off. Us getting to know Simon as a kleptomaniac who sells people's stuff to make ends meet, while interesting, got old quick as we watch him sell stuff, make a partner in selling skis and all that. Then, Seydoux in the beginning, to me anyway, was just this shallow written young adult who seemingly was dependent on her kid brother while she hanged around some boy. And though there was mentions of her working, we don't see that till the end so you easily forget she does more than possibly take advantage of Simon's affections for her. But, as a whole, once the 2nd half hits you can forgive the first half for it really is just made to set things up so the 2nd half can pack a punch.

Overall: Rental/ VOD

Honestly, this is more so a TV viewing type film, but I am not sure if this would play on TV so I have to push it up to a rental. For while I did like the movie, I must admit I am comparing it to Blue and in comparison, while I remain a fan of Seydoux and plan to see more of her work in the coming months, this film just doesn't seem like it is worth spending money on unless you are a fan of Seydoux or Klein, assuming he is still acting. Still though, I think this is definitely worth watching on a Sunday afternoon and though the film may seem like it lacks direction in the first half, once the 2nd half hits you will see the both performers finally put on a show which may not be the full extent of their talents, but definitely gives you enough of a taste to want to see more from them.

Intriguing story about a brother and a sister living together. But nothing is what it appears to be

[JvH48 · 9/10 · 5 November 2012]

I saw this film in the Berlinale film festival 2012, where it was part of the Competition section. It tells about an intriguing situation with a brother and a sister living together. Both have very uncommon ways to pass the time, each having their own survival strategy. We are left in the dark for a long time how all that came about.

I especially admire the role of 12-year old Simon, who shows versatility, skills and experience in his daily "job" of stealing ski's and related material from well-to-do tourists in the ski resort, in order to re-sell it later on to less wealthy people in the village. He acts as a real professional, and knows everything there is to know about equipment brands and related market prices.

The "sister" role, on the other hand, gets a bit on my nerves. She is utterly useless in earning a living, nor is she capable of running an orderly household. She's easily distracted when a man (any man) is around, and often leaving in the company of a lover, each time a different one. I'm not completely sure how to characterize her way of living together with Simon as either symbiotic or parasitic.

Halfway the movie it turns out that the relationship between Simon and his "sister" is completely different from what he tells everyone (and us) asking about their parents. What we (and everyone) are led to believe all the time, is the explanation that is easiest accepted by everyone asking for details. Their behavior does not change after the revelation about their true relationship. But of course it changes our view on the situation drastically from that moment on.

The film ends when the skiing season is nearly over, and all tourists are about to leave. Unclear remains what their income will be as of this day. We see them in a ski lift: Simon is going up and she is going down. Does this mean anything? A pointer? Seems like a deliberate open ending, and I must admit that I cannot think of a better way to wrap up this story.

All in all, Simon is the real main character, and he certainly is a person to get involved in. We follow him closely on his "job", feel with the risky situations he finds himself in, just as we are happy with each of his narrow escapes. Though the "sister" keeps annoying me all the time, she is the second main character who is also very well portrayed. Though we see many other characters appear, all of them are mere side roles. Nevertheless, they are also performing very well in their assigned roles.

Strange, gripping and worth seeing

[gphgrm01 · 7/10 · 7 June 2018]

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.

Sister: tough living for beautiful people

[niutta-enrico · 10/10 · 23 December 2013]

This movie is surely more than worth to be seen: I've been so impressed that I kept thinking for days about the characters and their fate and wishing them my best.

So, as you have probably understood the film is touching, let's say moving. Can't say if it is more the rare beauty of Louise or the remarkable talent of Simon for getting by that will affect you the most but be sure that you'll feel involved in the story as if you'd be part of it.

Needless to say that acting is perfect, scenes are catching and dialogue is most natural. I wonder whether is it a true story or not. I hope it is, otherwise I'd have to think that there is some kind of sadism in Ursula Meier's imagination.

largely overrated

[robertognolu · 2/10 · 10 January 2013]

Even with a silver bear on it, I didn't want to see the movie. But my curiosity got picked when I read that it could be a contender for a best foreign film Oscar. I thought that the story of a twelve year old stealing ski equipment from the rich in a Swiss ski resort to sell them down the valley to the lee fortunate must be something. And it was something… so predicable that even the amazing twist involving his sister didn't raise an eyebrow. Terrible dialogs that lack power. So does the story that has been underexploited by the screenwriter and the director. Even the presence of Gillian Anderson didn't bring anything to the movie. To end on one good note, the young Kacey has a bright future as an actor. Definitely.

Cold Europe.

[stuka24 · 10/10 · 18 November 2013]

Some films just can't be improved, this is one of this rare class. Like Lorna's Silence and of course the Dardenne bros, we've got the sociological view of the poor and alone among the rich and powerful. This alone is better than most of what is filmed, but what makes this gem stand from the crowd? The story is powerful, never faltering, and yet without low blows. And with the classic "slow/ ethnographic" moments that have make "French film" famous or infamous, according to tastes :).

Simon steals the movie, and that's no small feat given the other main character is Léa Seydoux, probably too pretty for the role, but so well "dressed" and such a good actress that you almost never see in her the "Cannes Star" one is expecting, only a beautiful woman who happens to be poor and with an awful taste for men.

"Mike", "Christin" (the classy blonde) and J. F. Stévenin's baddie teach us in one lesson that whoever's got money or power, even if just a bit more than you, will probably humiliate you as soon as he/ she can.

This is a film probably only understandable for those of us who've been thou hard times, economically as well as socially (notice Louise and Simon have no friends, S. may have one client and then an unlikely sidekick, and Louise has her "men" but they have no social life, no "life" beyond "pasta and toilet paper" as Simon wryly says to Mike as to what he does with the $ he gets from his thefts.

Simon has some points in common with Truffaut's 400 blows, as Argentine critic Diego Battle aptly writes. He's so chillingly natural that we only hope he can be as good as J.-P. Léaud, or even better!

Léa, from "La vie d'Adéle" (Palme d'or at Cannes 2013') has a feline beauty as well as some "hidden anger" that suits our character perfectly. I never understood how she spends her money so quickly, as we may understand she gets money from hustling, also from Simon, and yet she's always broke.

Agnès Godard makes magic with the greyish-white Alpine settings, always showing how harsh weather may be warm compared with the people down there. You may not be eager to go to skiing after having watched this masterpiece!

John Parish's music is hypnotic and costume design are perfect. Everything in their house is ugly, like poor Simon's tacky bed sheets. (This reminds me of Lorna's silence, whose winter clothing always looked bad on her, herself a beautiful woman). Even when they but something brand new, it doesn't work as supposed, like the oven Simon wanted. Everything that enter the house sort of gets "soiled". They are always washing clothes.

The ending's got a clear symbolism, I owe this to IMDb reviewer Dan Frazen. My favourite scene is Simon and his young apprentice stealing kid's wallets, leaving aside the toys with cool efficiency, complaining when "they only have coins" and flushing all what they don't want down the toilet.

I'm eager to watch Ursula Meier's debut, "Home". I am sure she'll keep up the greatness.

Slice of a sad life

[knucklebreather · 8/10 · 25 December 2013]

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.

Great drama

[martinpersson97 · 10/10 · 1 June 2023]

This incredible drama from an acclaimed director was a given watch, and surely did not disappoint in every sense of the word.

The actors all do an incredible job, some of the best in their careers, and it showcases some very interesting writing that works beautifully.

It is overall very beautifully put together in terms of both cinematography, cutting and editing. Truly a beautiful film to look at in every way.

Overall, a great feature that I would definitely recommend for any lover of film. It is truly a great drama with some very appreciated acting, and is very well put together. Definitely one of the director's better films and a great masterpiece.

Which way to turn?

[mmunier · 21 November 2013]

"L'enfant d'en haut" the title in French, is "Sister" in English. I had to strain a little with my mother tongue to work out the title - My literal translation gave "The child from above" But after watching the movie I concluded that it perhaps was The child from the mountain top. This seemed more appropriate for me. As for "Sister" This also can be thought as fairly appropriate.

I was rather annoyed at the first half, depicting a child stealing as the only way to get by and supporting a derelict sister who did not seem to do anything to help herself. I felt there was such waste of energy and little constructive to offer in a world already saturated by petty crimes.

But as the story continued it became a lot more interesting and meaningful and kept me totally engrossed to see the outcome.

Before coming to IMDb I checked "Allo Cine" a similar site in French. There were the two last worst and best review. The worst one gave only 1/2 a mark stating that the "bourgeois" did it again as usual transferring their own hangup to the "poor" society to which they have not insight or idea about its living condition. ( or something to this effect). I believe most of us in some ways are isolated in our own social surrounding and it takes much effort to look or want to look at others introspectively. There are always some reasons for us to go one way or the other regardless of who we are or where we are. So I dismiss this view that states such disdain on the part of "the better of people" Some are very comfortable thanks to their hard work and also sometime a little luck. I don't think this film is set out to ease the rich people's burden to be different than their not so wealthy counterpart.

I see a very good attempt to zoom down unto a very sad situation and portrait its protagonist in a very raw manner to an excellent result. I also admire the finish, simple but emphatic to the depth of its sorry situation.

The Sister (?) L'infant d'en haut

[krocheav · 4/10 · 24 October 2017]

I was attracted to this story by a synopsis that described it as a moving experience. In typically modern French Indi' fashion, it ambles along so slowly at times you want to run at 2 x speed. There's little to be truly moved by unless your attracted to a story about a young 12 yr old lad who steals from anyone who gives him half a chance - in order to keep his drunken, immoral mother (who looks ridiculously just a few years older than him) in food and designer clothes. Her character is never explored so we know nothing about her, making it difficult to engage with her problems. No-one seems to mind the fact the kid never seems to go to school or have any family - they just seem to accept that he hangs around the ski lodge all day, every day. With all the major thieving he constantly performs (super expensive ski equipment and clothes) it's too much to think no-one would have suspected him right off.

Well acted with some OK photography this has been somewhat overrated and while it may please those who tend to look at - but don't fully examine what drives a story - it's left somewhat lacking. You may well have seen far worse but, also far better.

A new "High and Low" for the age of inequality

[The_late_Buddy_Ryan · 9/10 · 21 June 2014]

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.

UNLIKEABLE CHARACTERS.

[andrewchristianjr · 8/10 · 6 June 2021]

Really well done movie. I wanted to feel sorry for the pair of them, but I just couldn't, they were too unlikeable with their actions. But then part of me understood why they were both like that.

It's a Cableway

[Gebanuzo · 8/10 · 23 August 2014]

It's not possible writing about this movie without allude the conditions of the principal character's relation ship, because it's the power emotional focus, but it's also important no being in details, the surprise should come unforeseen like an ice bucket. Either the movie is fiction, the spectator does a connection with the principal characters, Simon, a little child surviving in the world, and getting over his loneliness.

We can see a Cableway getting up and down, like life. A reflection about social roles, obligations, and grow up. Simon asking to Louis What are you gonna do when I was taller than you?