museumofdave Much of the advance publicity for this quiet little slice of a child's life seem as if it's going to be sadism in the school and kids doing cloak and dagger work; neither is really true of this film, although there is a major discovery to be made as the main character (subtly etched by a preteen with an appealing sensitivity) negotiates his way among the strangers he is suddenly stuck with when his parents pop him down in a children's winter camp.The lad has visions, but not without reason, and once seen, all the disparate pieces fit very nicely indeed; there is a fascinating music score that ranges from Rock to Rossini, and if I haven't said a good deal about what happens, it's because what happens to the boy is a mystery: the wish bracelet he wears tells the story. This is not a fast-paced thriller, but a contemplative voyage into a child's mind, crossed with elements of a classic mystery.

Chris Knipp Screenplay coauthored by Miller and Emmanuel Carrière from the latter's successful and disquieting little mystery-thriller novel about an overprotected, highly sensitive boy whose dreams and fantasies of danger while on a stay in the mountains with his school may or may not presage real events. Such a movie has plusses and minuses: it allows the filmmakers to bring the feverish visions of young Nicolas (Clément ven den Bergh) to vivid life, but it somewhat undermines the sense of uncertainty about what is real or imagined that makes the book effective. The boy is stronger than I imagined him reading the story. Let's say that the actor puts on a face of shyness and gloom but I don't quite believe it. Still, as a viewer commented on the French website Allociné, "I feel this film does not betray the book." Apparently not shown widely or at all in the US. Beautifully done with excellent restraint, true to the book's muted style, a minor triumph for the underwhelming Miller, whose last admired film was The Little Thief/La petite voleuse with Charlotte Gainsbourg in 1988. Tied for Jury Prize at Cannes, nominated for Golden Palm. I wanted to see this because I'd read the book. Easy French. This brought it all back, but wasn't quite as disturbing because you know the fantasies are fantasies, every time. In the book it's from the boy's point of view and you aren't always so sure. Lots of closeups of ven den Bergh's face don't make us see entirely through his eyes. It's all more externalized. Still, a nicely modulated mood piece, an excellent evocation of the darker side of childhood imagination. It's not so easy to be a kid. We forget that sometimes.

sleepsev This film is very exciting, touching, and beautiful. It belongs to one of my most favorite coming-of-age film. There are many reasons why I love this film so much. One of them is the terrific talents of Clement van den Bergh and Emmanuelle Bercot. I think it is very hard to play the leading role in this film. Nicolas is deeply troubled inside, and the actor has to keep it hidden inside to make it convincing why the kid has a lot of bizarre daydreams and nightmares. Though he has a sad face, he must not make his feelings too obvious. The actor has to make us understand that Nicolas cries for help all the time, but not by his voice or obvious expression, but by something hidden under his expression, something hidden in his eyes, and by his imagination. I think Clement van den Bergh is really successful in this difficult role.Bercot is also excellent. She does not portray a stereotyped teacher. She really makes this role her own by expressing feelings and emotions of vulnerable human, and that makes this teacher a real person, not only a character. I was quite impressed with her talent in the latter part of the movie after the news of the crime starts spreading.The story is really moving, especially when it deals with the growing friendship of the two boys, and the rollercoaster scene is strongly intriguing. More importantly, the atmosphere created in this film is excellent, and owes a lot to the superb cinematography, the haunting musical score, the appropriate location, and the rhythm of the story. The vast landscape is beautifully captured by the camera, and cleverly used to mirror the psychological aspect of the character. Each nightmarish scene is intense, and the scene when the boy is frozen to death keeps haunting me for a long time. This is one of the films which must be shown on the big screen so that its beautiful atmosphere can be appreciated fully; however, it has been shown in Thailand only once.This film does not only excel at creating the atmosphere, but also at creating the excitement. While seeing it, I couldn't guess what would happen next. I couldn't guess if the story would turn out to be one of those children films in which everybody understands one another at the end, or if it would belong to a serial-killer genre. Sometimes I couldn't guess if the scene was just a dream or reality. The ending, though quite brutal to the feelings of the characters, is done in a surprisingly delicate manner. This film should be viewed together with Festen, which partly deals with the same subject matter but uses totally different approach. Yet I think both films are similarly effective in their own ways.Though I can't say this film is innovative, original, or significant to the history of cinema, at least this film is really significant for me, judging by its tremendous impact on my feelings. Though this film deals a lot with painful experiences, I have to say I really enjoy the trip through this film. This trip is greatly rewarding.

DuncanG This is an investigation of the journey into puberty for the young Nicolas set in the clear, fresh surroundings of the French Alps. The casting is as well crafted as the direction, performances and music; as soon as we see him we know that Nicolas is a shy, sensitive boy and that such physical and psychological changes which happen at his time of life will have melancholy and confusing effect. This is portrayed finely.The sub-plot, I believe, is the murder and its outcome, the conclusion of which sums up Nicolas's history.Cinematographically, the effect is as cool and crisp as the alpine air itself as is the choice of music. We are led in to the mind of Nicolas through the music and the elegant flashback, nightmare and daydream sequences some of which verge on the intensity of the Hitchcock-Dali connection.This is a film of opposites; the new-found friendship between the shy Nicolas and the class rebel and between both of these boys and the sympathetic teachers. We grow to know and like all of these characters.Isn't it true that the character of a nation can be seen in its children. This could only be a French film; it is realist, humanist.