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.
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.
This review may contain spoilers. I can handle the truth.
Very well executed, although some scenes felt rather numb but its worth a watch.
It exposes a true and gruesome nature of our society and I liked how it maintains its naturalism till the end but I think that little girls death was an unnecessary and a stagy move. Making it more tragic, somebody is gonna die, right -- No. I have seen devastating film with no deaths at all. If a script is able to emotionally attach its audience then even a far less traumatic incident will be felt alot deeper.
Anyways, its a good one-time-watch and certainly best choice for those more into soft, lucid, drama films with cute children. Koreeda is a specialist in naturalism, his films are entirely based on reality and undeniably lesson's filled.
A gripping account of four children struggling to survive on their own after their mother abandons them in an apartment. Each encounter with a stranger and every unpaid bill is a potential catalyst for splitting the children up into foster homes (or worse).
The ending is almost laughably maudlin and trite (spoiler: there's a burial scene accompanied by a twinkling pop ballad). But everything up until that point is engaging, judicious storytelling.
See also: Chop Shop, Treeless Mountain
One of the most heartbreaking films.
A dour examination of unguided youth, the clash of reality's unforgiving tendencies with a zestful innocence, Nobody Knows is Kore-Eda's crowning achievement. Based on a true story, we follow the claustrophobic lives of abandoned children, fending for themselves, protecting one another. Their cohesion is tested through immeasurably affecting shifts in hope and melancholy. Adaptation becomes the key to survival and it's riveting to witness such individual personalities develop over the belligerent course ahead.
What has proven true in the career of Kore-Eda is his ability to elicit shining performances from his child stars. This is most evident here, where the emotional instabilities and social curiosities of adolescents break through their cracking skin. It's undoubtably his most depressing title, yet there's…
يمكن أكثر حاجة معجبتنيش فى الفيلم هو المبالغة فى جعل الموضوع مخفى تماما ...أربعة أطفال معزولين فى شقة بيتقطع عنهم كل الخدمات و بتتانقص مواردهم المالية و رايحين جايين و محدش بيسأل ليه و لا مين دول !!! ... و مع ذلك تظل المعالجة نفسها اهم من الحكاية ككل ... شخصيا كنت متوقع فيلم اثارة او على الاقل اكثر سوداوية ... و لكن المخرج (كوريدا) قدم فيلمه بشكل واقعى اكتر و ما وما نحدرش للفنتازيا ..الى درجة ان الفيلم أبطاله أطفال و صعب على الأطفال أن يتفاعلوا معاه أو أن يفهموا مقدار أنانية الأم
The most annoying thing to me is the exaggeration in hiding all things ... Punch of kids isolated in an apartement with no services and they…
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…