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.
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 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.
Based on a true story, Nobody Knows follows four siblings Akira, Kyoto, Shigeru and Yuki as they fend for themselves after being abandoned by their mother.
The film opens with the oldest, Akira, 12, moving into a new apartment with his mother and his next oldest sibling, Kyoto. As they unpack their bags, we see two more children coming out of unpacked suitcases. They were being kept hidden unbeknownst to the landlord. We soon learn that the family have been moving around and were kicked out of their last apartment. The next scenes show what seemingly is a happy family. The mother comes home from work and greets her kids lovingly. She is never mean to them. She always laughs…
At the beginning this movie taps into a very basic childhood fear/anxiety of waiting for your parents to come home and not seeing them when they're supposed to be back.
By the end it becomes a full-blown nightmare.
A fantastic social realist drama. I haven't had such an emotional response to a movie in a long time.
Tratta da una storia vera, una toccante vicenda di degrado e di abbandono. Hirokazu Kore-eda, con la sua innata delicatezza, entra in punta di piedi nelle pieghe della carne, portando allo scoperto i nervi di quello che è un dramma esistenziale che affonda brutalmente nel quotidiano. Mostrandoci da un lato l'egoismo di una madre indifendibile che fugge il peso della responsabilità; dall'altro la dura realtà per chi non ha colpa (i figli abbandonati al loro tragico destino). Toglie il respiro e costringe lo spettatore ad amare riflessioni. Splendido.
I'm not sure I can judge this kind of film properly.
On the one hand, it's about abandoned kids that have to fend for themselves. The premise alone is devastating and I'm not sure I felt Koreeda did enough on his own for me to grant him the merit of all the emotions I felt when watching this. He certainly doesn't do anything transcendent like Isao Takahata, who surprises in the many different ways that he can shatter you in Grave of the Fireflies.
On the other hand, Nobody Knows knocked me down. In fact, those last 20 minutes are so bruttaly agonizing and painful that they verge on being unwatchable. And to his credit, if Koreeda didn't do enough,…
Nobody Knows is a film about a young family, two boys and two girls, which is abandoned by their mother and left to fend for themselves. The way this is approached is actually very believable when we learn more about the mother and the type of person she is. It’s never outright stated what she does, but I would guess she worked as a hostess, picking up boyfriends along the way. Too involved with her own goals and other men, she gradually fades out of their lives and the eldest son Akira is forced to take care of his siblings.
It’s this setup that leads to the depressing film that follows and punches you in the gut. We watch as…
Hirozuki Koreeda draws inspiration from critically acclaimed director of Tokyo Story (sometimes said as the greatest film ever made...), Yasujiro Ozu who is known by his simplistic style and portrayal of Japanese family. Indeed, Koreeda delivers Nobody Knows with intense simplicity, precise details and raw emotions.
Inspired by true events (although fictionalized a little bit) by the Sugamo Child Abandonment Case, Koreeda presents an euphemized, less grim telling of the true events. It's a melodrama that's not depicted as a melodrama but carries the same intense and impact. I absolutely loved this film from the start to finish. Koreeda channels a contemplative style where details, time and dialogue drives the storytelling forward through its characters' actions. He maximizes the potential…
Ein Film über: Verantwortung,Traurigkeit, Egoismus, Gruppenzwang, Pubertät, Aufopferung,Selbstverantwortung, Verlust, Angst, Isolation, Das japanische Schulsystem, Erziehung und Liebe. Unterlegt von einer stätigen Melancholie.
One of the saddest films I've ever seen, it took me several years to work up the strength to revisit it but it has such power that I couldn't resist returning to a story that - for various reasons - is even harder to take the second time around, with the awful knowledge of what's to come looming ahead.
The decision to shoot the film over a long period of time allows the children to age realistically as the film's time passes, and Akira's voice breaks. The slow transition from child to teenager has never been so heartbreaking.
High-rated movies with very few views. Suggestions are welcome.
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…