Nobody Knows

If your local art theater plays it, go watch it. Find it in DVD store if you can. Rent it through your local mega movie renting store if you have to. Everyone has to watch this movie.

As a highly urbanized country, Japan is subjected to constant social problem, more so than other developed country. Hence, often you will have your Japanese movies that reminds us these problems, Tokyo Godfather, Fireworks, etc.

Nobody Knows is one of them from another angle.

Its director likes to use close up on little details like finger nails, shoes, t-shirt collar to tell the audience what kind of situation it is for the victims in the movie. Often we neglect these little details; often we neglect the unfortunate people around us.

Once in a while we have a world disaster, we all jumped in, we all gave our helping hands, we all praised greatly how much help we gave on TV. Comparing and contrast the figures of aids given with other countries, even. Little things, little unfortunate things happened around us, everyday, everywhere, they are all nicely tucked under our lavish mat and those story never told, those needed aid never arrived. Because they have no news value or because helping a few people doesn't gain enough prestige?

Nobody knows, as the title suggest, We never aware of these problems, by our own choice or not. The movie has an unusual slow pace. There is no climax, everything just get worse. Just the those misfortune people nobody knows, their life are not full of excitement, everyday is another to get by, nothing to wish for, nothing to hope for. Nobody Knows depicts the days of these unsounded misfortune. You could have seen the unfortunate events to come. You would have wished they would not come. One by one they came.

The brilliant part, Nobody Knows lets its audiences decide the ending.

There are very few films I have seen that had the power to affect me as deeply as Nobody Knows. As highly as I recommend it, I must also forewarn, that this film has power, some very serious power. To call Hirokazu Koreeda's Nobody Knows anything less than a masterpiece would be an insult to the story it tells. The craftsmanship we witness here, from the masterful direction to the outstanding performances that the children were able to commit to, are all something of incredible proportions.

Nobody Knows, which is a true story, tells of four siblings, ages 5-12, from different fathers, who live in a small apartment in Tokyo. At first, they live in the apartment with their childish Mother who is hardly ever home. With the exception of the oldest, Akira, the mother snuck the children in to keep the rent lower and prohibits them from ever leaving the apartment, even the veranda, for fear of them being seen. The children do not go to school. As they look after each other, all they do is patiently and affectionately wait for their mother to come home.

As the story progresses, the children wake up one morning to some money on the kitchen table with a note from their mother saying that she'll be home in a month. As Akira steps up and takes charge of the apartment, the bills, and his siblings, the children still hold hope that mother will be home soon. And then, Nobody Knows hits you like a truck and goes right through you. Complete Abandonment. The smiles diminish and the childish affection for a mother that will never return is gone. Gone to play mother to another family, it is now entirely up to Akira, with money running out.

Koreeda's direction of the children is exceptional, as if the film was shot entirely candid. The camera-work is sincere, as if we were one of the children stuck in that apartment. There are no gimmicks here, no slide of hand, or post-production miracles. Nobody Knows is raw, and thrives in Koreeda's ability to capture the distinct personalities of all four siblings, their hopes, and those secretive moments where Koreeda directs the children not for the stories sake, but for the sake of the children being children.

Perhaps the most impressive aspect of Nobody Knows is the performances of the four children. All four children, who conjured phenomenal performances, were played by Japanese youths with no film backgrounds. After you see the film, it is likely that Koreeda preferred it this way, tapping into the honesty and energy that such youth had to offer. Their performances are so sincere and beautiful that on several occasions the tears will start to fall, the goose bumps will rise, and your heart will undoubtedly cry out to rescue these children, to grab them in your arms and set them free.

Without giving too much away, one of the most touching scenes to me, is on Yuki's birthday, the only thing she wants is to be able to go outside for a walk with her big brother Akira. So when the night comes, she puts on her little bear slippers, an ear to ear smile on her face, and with her hand in her brothers hand, they set her heart free for if not only a night.

Nobody Knows is a film that I will never let go of. This film impacted me so much and I found it so absolutely remarkable, that it hasn't left my mind since it's viewing. I almost feel that recommending this film just isn't enough, and all I can say is that I hope everyone gets the chance to enjoy this film for all that it is worth. As sure as it is to invoke emotion, it is as sure to please as a piece of cinema.

This film is beautiful in its simplicity...it is at times sweet, warm, funny and always heartbreaking...it is essentially about four children surviving on their own after their mother leaves them in search of her own happiness....

The show seemingly lacks any action or any exciting moments, but i was totally absorbed during the two plus hours of the film...this is largely because of the superb performances of the adorable children, who were all really natural and likable. You just feel for them and wonder at the callousness of their mother and respective fathers. The dialogue is simple yet meaningful and through the day-to-day unraveling of the plot, one sees the contrast between the courage, maturity and innocence of children, and the selfishness and childishness of adults. The realist, documentary style of filming allows viewers to see things from the eye of the children...

a great film that will make u feel rather depressed at the end of it...not for those who do not like slowly-paced films with not much action.

In Tokyo, the reckless single mother Keiko (You) moves to a small apartment with her twelve years old son Akira Fukushima (Yûya Yagira) and hidden in the luggage, his siblings Kyoko (Ayu Kitaura), Shigeru (Hiei Kimura) and Yuki (Momoko Shimizu). 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.

"Dare mo Shiranai" is a sensitive movie based on a true and very sad story. The performances of the children are amazing, highlighting the look of Yûya Yagira, and the drama is developed in a slow, but suitable pace. The direction is effective and the music score is absolutely adequate to the film. However, living in Rio de Janeiro, where we see homeless children begging on the streets everywhere, the terrible situation of Akira and his siblings does not impress the way it certainly does in First World countries. The abandoned children of the film have an apartment to live and food to eat, what does not happen in Third World countries, where famine children live on the streets in a sadder and unacceptable reality. The open conclusion is a little disappointing, since it does not bring any message of hope or lack of hope to the poor children. It seems that life goes on only. My vote is eight.

Title (Brazil): "Ninguém Pode Saber" ("Nobody Can Know")

This film was very well received at the latest Telluride Film Festival where I saw it. Based on a true incident it is the story of 4 children,each a child by a different father, abandoned by their mother, and trying to survive in modern Japan on their own. The film is paced wonderfully slow, allowing the viewer to focus on small details that overlay other details. It does not drag at all and has moments of humor mixed with pathos.

The oldest, a son of about 13 or 14, incredibly acted, becomes the parent. He is in transition from becoming the responsible one of the family and a typical kid, but one with real values.

There are moments where a box of tissues are in order. The film ends in a moment of hope mixed with a real desire to know what ultimately happened to them all.