Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…
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…
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.
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,…
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.
A tender and heartbreaking portrayal of neglect and survival. The way Koreeda once again captures emotions and relationships with such grace and elegance is simply breathtaking. Sometimes hands and feet can tell us so much more than faces, and the small details can be more effective in telling a story than grand gestures. One of the best filmmakers out there today.
your heart will break
Week 7 of Letterboxd Season Challenge 2015-16: Midnight Eye Week
In an interview with The Guardian at Cannes earlier this year, Japanese director Hirokazu Koreeda laughed off the comparisons with Yasujirō Ozu that have been made when describing his work. Instead of taking the lead from one of Japan's most influential filmmakers, he claimed that in terms of storytelling he saw British social realist director Ken Loach as an inspiration and kindred spirit. Nobody Knows is the first film from the director I've seen that doesn't feel fully Ozu-inspired; yes, it's about a dysfunctional family relationship, but it is about a relationship impossible to sustain explored in the most realistic manner possible.
After buying a new apartment for her and…
A really soothing, slow film. There are some heart-breaking scenes throughout the movie that make you want to punch their mother right in the face, though...
Gloomy without being pessimistic and quietly beautiful. Probably some of the greatest child actor performances put on screen.
This review reportedly contains spoilers. I can handle the truth.
Japanese director Hirokazu Koreeda’s ‘Nobody Knows’ is a contemporary drama involving a mothers struggle to cope with life with her children.
The mother, Keiko, has little money and crams everyone into the tiny apartment. Akira (Yua Yagira) is the oldest child of about 12 years old, who is the only visible child to the outside world. He runs all the errands and keeps his three younger siblings fed whilst his mother works. The three children never leave the apartment, none of them go to school.
Keiko spends less and less time at home, often leaving for long stretches and leaving money behind for the children to fend for themselves. Completely self-absorbed, Keiko is obsessed with her own happiness and clings…
A devastating story told with great naturalness and compassion, and with an emphasis on small details that speak volumes. The soothing music is an ironic counterpoint to the upsetting story unfolding onscreen. It's also notable that no characters ever yell at each other or even raise their voices. The film falters down the stretch and begins to feel a bit long, but it's still well worth your time.
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…
A blend of personal favorites and films that I consider to be the "greatest." Top two-hundred is definitive. Only 1940-2015.