This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
In Tokyo, the reckless single mother Keiko moves to a small apartment with her twelve years old son Akira Fukushima and hidden in the luggage, his siblings Kyoko, Shigeru and Yuki. The children have different fathers and do not have schooling, but they have a happy life with their mother. When Keiko finds a new boyfriend, she leaves the children alone, giving some money to Akira and assigning him to take care of his siblings. When the money finishes, Akira manages to find means to survive with the youngsters without power supply, gas or water at home, and with the landlord asking for the rental.
A heartbreaking tale of abandonment and survival, Nobody Knows takes a more extreme view on the mistreatment of children; but it's one that remains grounded in reality, showing how neglect can take away a childhood in an instant and replace it with experiences that no child should be subjected to.
Nobody Knows opens with the family in question moving into a new apartment. Only the mother and Akira, the protagonist, are known about by the other residents and only Akira is allowed outside. Even though the mother acts irresponsible, having had the four children via four different men and not allowing them to go to school, the family are content and happy as they are shown eating dinner and playing…
To make something so beautiful, so tender out of something so tragic and heartbreaking takes a real skill. Hirokazu Koreeda has perfected it.
Not since Elephant Man has a film had this much of an emotional effect on me, it actually made me feel quite sick in my stomach in the last half hour and in the last 15 minutes or so I realised I was holding my breath.
The young actors have left me gobsmacked at how flawlessly they performed, they say very little but their every action makes you empathise with them that little bit more. Akira's scenes when he remembered how to behave like a child again were particularly touching but when the sucker punch comes, the…
Yuki: ''No, I'm gonna meet mommy at the station.''
Kyoko: ''She's not coming home today.''
Yuki: ''I'm sure she's coming home today.''
A fully realised vision of the resilience of children over the course of a year based on the 'Sugamo child-abandonment incident' from the late 1980's, in which a mother of four children to two different father's abandons them as she flits around like a sexual butterfly, sending them money intermittently to prove she 'cares'. Hirokazu Kore-eda proves once again the breadth of his talent as a storyteller by immersing us into the world of a quartet of children whose mother is a selfish cunt, and he does so with such a light touch and restraint from heavy-handed melodrama,…
Damn you, Hirokazu Koreeda, for making this film. Now I won't be able to get these absolutely heartbreaking scenes out of my mind.
No... I'm not really «damning» the director. He's made a tremendous film. The way he handled the children is almost beyond comparison, I think its some of the best child performances I have ever seen. Koreeda also manages to show us the small moments of joy that children are able to experience even in the darkest of situations.
What really worries me is that a real-life incident in Tokyo inspired Koreeda to make this film. I guess reality is more cruel than fiction - few could have invented this story.
"I'm not allowed to be happy?''
How can your own flesh and blood say that???
Koreeda channels Ozu aka the Master of Simplicity and pays tribute to Hitchcock in a slow burn thriller sequence which had me in knots...Had this been in the hands of another director it would have turned into loud and cliched consequences but instead it becomes a restraint,effective and thoughtful experience. Well deserved winner of Best Actor at Cannes.
Director: Hirokazu Koreeda (Second Film)
Nobody Knows is a film based on true events; true events which are far more heartbreaking and disturbing than anything that happens here, but this film is every bit as heartbreaking because Koreeda presents it in a way that makes it all seem okay: as if they're getting by but slowly, and subtly the lights start to go out, the water stops running and their money starts to clatter as notes become coins and hope becomes a mere slither of a mother's dress.
This isn't a film that relies on startling moments of depredation but on the closeness of everything; the tightness of everything within the closely knit group of children abandoned by…
Hirokazu Kore-eda, a director known for his unsentimental but sweet, tender dramas, takes a different turn with this disturbing, exhausting, but affecting work Nobody Knows that centers on four struggling abandoned children. This is probably the most disturbing that any Kore-eda film can get. Nobody Knows has no crime, sex, or even blood, but its situational crisis fostered by Kore-eda’s naturalistic attention is deeply unsettling.
Yet beneath those extremes of circumstances that these children experience, Kore-eda always finds small but special moments of pure bliss and that alone is worth the time. Especially since it centers on children, with adults excluded from the world, the moments are so close to the heart even if it’s both happy or painful and…
I loved it. I can't stand it. This is a feeling I get from films I feel are too realistic that I become a bit antsy, and the sense of true dread and terror are just so amazingly tangible as to become almost a bit unbearable.
Like always, Koreeda is just fantastic, though the film does drag just a bit. His ability to bring out performances is just second to none.
A film of few words, beautifully shot, and ultimately tragic. The naturalistic approach of the child actors are astonishingly brilliant, as the daily struggles of neglect, abandonment and struggle is played through in this narrative based on a real case where a mother left her children to fend for themselves as she went off with different men.
Akira is the stand-out character, whose initial sense of responsibility becomes heartbreakingly raw to watch as money runs out and the struggle to make ends meet gets tougher. The moments I found hardest to watch was when he would watch other kids his age, playing baseball, going to school etc. and you could see in his eyes a kid that has lost his…
It's like "grave of the fireflies", but in real life. It's a really long and heart-breaking movie. If you're interested in the story that inspired this, read: en.wikipedia.org/wiki/Sugamo_child_abandonment_case
First of all, props for directing four kids so goddamn well Mr. Koreeda. Their naturalistic performances, coupled with the documentary-style filming significantly added to the stark realism of this film.
I found it both cute and ingenious for there to be so many shots of feet in this film. From my limited knowledge and experience of dealing with kids, when something catches their attention, they don't just turn their heads, they turn their entire bodies. Showing just their feet hesitate, turn, shuffle along, or run freely reveals so much about their characters and current emotions it's amazing.
This isn't surprising though, as Koreeda has demonstrated in both this film and Still Walking how few words are needed to portray the…
Best child performances I've ever seen.
Sad as all shit. Need to see more of this director's movies.
The ending... too heartbreaking.
A very quiet movie, anchors on subtlety althroughout but speaks heavily.
High-rated movies with very few views. Suggestions are welcome.
Complete list. :-(