Hirokazu Koreeda dozes a pile of poetic details and limited dialogues to express the loneliness of the city where children supposed (Akira Fukushima in particular) to replace his childhood joy with ordinary issues of adults life. His eyes, speech, facial expression marks all the sadness and aspiration to create an appropriate moments for siblings.
Koreeda crafts a compelling story of a group of siblings left to fend for themselves when their mother disappears in this Post-bubble drama. Creeping dangerously close to being a bit too sentimental, Koreeda saves it with careful pacing and beautiful cinematography.
It is gut-wrenching to see their love for one another in a world that wouldn't care less if they brushed their teeth before sleep. The scene of play in the sun is achingly beautiful: picking seeds someone just left behind. Crayons may become stubs but hope never dies. Nobody knows why.
Kore-Eda eligió un material potencialmente melodramático y lo transformó en una película emocionante, conmovedora y sutil que evita los golpes bajos, el maniqueísmo y las estridencias gracias a un registro actoral sobrio y naturalista y una puesta en escena casi documental y exhaustiva en los detalles cotidianos. Imprescindible.
Likely one of the most emotional films I've seen. Knowing the way of life in Japan well, Nobody Knows (誰も知らない Dare mo Shiranai) puts a strain on my heart. It's amazing how busy we all are, and how comfortable we can fit into society, all the while the people around you could feel completely different. That's what I took from this.
Yet another masterpiece from Kore-eda, who with each new film I see continues to astound me with his astonishingly unsentimental but deeply sympathetic psychological studies of prepubescent youth. Though not my favourite Kore-eda film, I found it the most moving by a mile. Mother behaved deplorably but was pitiable, too, and I was genuinely gladdened when Akira played baseball perhaps for the first time in his life.