L'Enfant d'en haut

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.

"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.

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?

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 ...

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.