High-rated movies with very few views. Suggestions are welcome.
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…
I'm not sure that this impressed me quite as much as the first time I saw it (I didn't remember how weirdly over-lit and washed-out the cinematography looks in places, although on a whole it's quite nicely shot, but also in general this style of humanistic social realist cinema just doesn't hold the same appeal to me as it once did), but it's still easily my favorite of the Hirokazu Koreeda films that I've seen by a pretty wide margin.
It's interesting that, although Ozu would be a pretty significant touchstone elsewhere in Koreeda's filmography, here his work feels much closer to the gritty-yet-gentle realism of contemporary European filmmakers like Shane Meadows, Ken Loach, Lukas Moodysson, or maybe even the…
This could have been my favourite Koreeda movie if:
- If did not try to change a true story into a bittersweet coming-of-age tale.
- He would have chosen to actually provide a closure
There's beautiful cinematography and great attention to detail, but the points above really messed it up for me.
One of those films that sent me scurrying to the internet as soon as it finished to look up the real life events on which it was based, which are astonishing, and of course extremely sad. Kore-eda changed them a little, but remarkably much of what is in the film seems to be very accurate, and he certainly captures the slow-moving tragedy of the situation. It is another example of his superlative ability to work with children, the performances individually and as a family unit providing the essential backbone of the film onto which Kore-eda can build his stark, mournful depiction of events. It is impressive that he does little more than depict. There is no judgement or sermonising particularly,…
An enjoyable journey through a melancholic narrative. The cinematography was very consistent, and by far the best acting from children I have seen in a film. They weren't "good for kids" but instead great actors.
Jesus Christ, this movie is absolutely fantastic. Flawless. And sad as fuck. I have no idea how I'm not crying right now.
The photography is warm and comfy, it made me feel so close to those characters. It was really intimate. The script is really well written and the movie's pace is well balanced. It did not bored me. Actually, I felt the opposite of boredom.
Oh, and applause for Yuya Yagira. He deserves it after this stunning performance.
I could go on and on about the kids acting and their home but it would make this review too long. So, you know, guys: Just watch this.
PS.: This movie was based in real events, which makes it even sadder.
Just getting prepped for After the Storm.
My fourth Koreeda film. His style is hard to pin down. Sometimes he seems formless, generic, and then he displays the most subtle and carefully crafted framing or editing to convey the emotions the characters themselves can't quite grasp.
One thing that is consistent is Koreeda's ability to sympathize with his characters and as mentioned, slowly and subtly build up the emotions in a film through exposition. He's great at storytelling in this way, and this film is no different. There are moments that "wake" you up so to speak, but really Koreeda takes his time setting the stage, planting details, letting the audience come to their emotion conclusions before pulling the rug out from you and you suddenly find yourself tearing up. He did this perfectly in After Life and he does it here in a different way.
Overall, the film was just about as depressing as I thought it would be. But it's a great film.
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…
This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…