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Nobody Knows
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Film Description
Kore-Eda is quietly building one of the most distinctive and most pleasing bodies of work in cinema today. His treatment of this true story of four children abandoned by their mother and left to fend for themselves in a Tokyo apartment concentrates on the richness of their shared life instead of the misery and so creates an extraordinary atmosphere of their lives over the course of a year. The 12 year-old lead won Best Actor at Cannes in 2004 for his performance. An exceptional film.
Film Information
| Director | Hirokazu Koreeda | ||||
| Starring | Yagira Yuya
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| Genre | World Cinema
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| Country | Japan | Language | JAPANESE | Year | 2004 |
Technical Details
| Certificate | 12 | Length | 140 mins | Label | DRAKE | ||
| Cat No | DAP7713 | Format | DVD | Colour | |||
| Region | 2 | Aspect | 1.78:1 Anamorphic widescreen | ||||
| Subtitles | English. | ||||||
4 Stills
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1 Trailer
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Review by Graeme Hobbs on 29th March 2005
Hirokazu Kore-Eda’s extraordinary film about four young children living together for a year in an apartment after being left to their own devices is a tender and magical piece of work. Inspired by a true story, this is no negative or melodramatic portrayal of the misery of abandonment, even though the film is suffused with longing. As the director explains, “The life of these children couldn’t have only been negative. There must have been a richness other than material, based on those moments of understanding, joy, sadness and hope. So I didn’t want to show the ‘hell’ as seen from the outside, but the ‘richness’ of their life seen from the inside.”
The film certainly is rich in both observation and understanding of the way the children organise their lives. Twelve year-old Akira (a performance of such measured calm by Yagira Yuga that he won best actor at Cannes in 2004) is left in charge of organising shopping and cooking for the other three children who aren’t officially there, having been smuggled into the apartment, two of them in suitcases. Akira refuses to go to the social services, fearing the four of them will be separated. From then on, we are so immersed in the children’s world that when the mother briefly returns a month or so later, her presence is an intrusion. She doesn’t stay long and leaves saying she will be back for Christmas. When she doesn’t come, Akira gets a checkout girl at the local store to fake New Year cards for his siblings.
Made over the course of four seasons as the children grow, the style of filming allows a breakdown between documentary and fiction familiar from Kore-Eda’s previous Afterlife. That film’s unhurried tone is also present here, reinforced by a style of filming that adds poignancy by concentrating on details of a scene that convey absence, loss or wishes – fading paint on a daughter’s fingernails, shoes, a toy piano.
Kore-Eda is quietly building one of the loveliest and most distinctive bodies of work of any director working in cinema today. If you’ve seen Afterlife or Maborosi, you know this already and will need no persuading to watch this.
View more reviews by Graeme Hobbs
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