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.

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.

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.

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.