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.

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 ...

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.

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.