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Great acting, especially from Penelope, nice atmosphere by creating mystery but not a dynamic plot. The end was weak too. i was expecting more..

Rarely has a filmmaker been so intimately tied to a place as two-time Academy Award-winning writer/director Asghar Farhadi is to his native Iran. Since his 2003 directorial debut, Danse dans la poussière (2003), six of his eight films have been set there, collectively mapping out the socio-political soul of the country, examining such socially-realist topics as divorce, crime, secrets and lies, and the themes for which he's best known; class and the importance of the past in the present. In 2013, he made his first film outside Iran, Le Passé (2013), which was set in France, although it did feature an Iranian protagonist, and was thematically uniform with his previous work. His second such film, Todos lo saben (lit. trans. Everybody Knows It), is set in Spain, and although it finds him working for the first time with a relatively conventional genre template, it remains thematically very much a Farhadi film.

More a dark psychological study of people under extreme pressure than the kidnapping thriller as which it's been marketed, the film examines what can happen when intense pressure causes long-buried secrets to rise to the surface, how they can bring some together and tear others apart, often because of misunderstandings as to what is and what isn't common knowledge. However, although beautifully shot and exceptionally well-acted, Todos is easily the weakest film in Farhadi's filmography. Whereas his previous work is elegant, nuanced, and perfectly formed, Todos clumsily falls back on clichéd genre tropes and heavy-handed melodramatic plotting, with the narrative hinging on the revelation of a secret so obvious, I'm not even sure you can call it a plot twist.

Laura (Penélope Cruz) is a Spanish woman living in Buenos Aires, who returns to her hometown outside Madrid with her 16-year-old daughter Irene (Carla Campra) and eight-year-old son Diego (Iván Chavero) for her sister's wedding. Her husband, Alejandro (Ricardo Darín), a successful architect, stays behind in Argentina due to unexpected work commitments. Laura is particularly looking forward to seeing Paco (Cruz's real-life husband, Javier Bardem), the son of the family maid, with whom she grew up and was in love for many years. Now married to local girl Bea (Bárbara Lennie), Paco co-owns a local vineyard, having bought the land from Laura at a low rate, with Antonio (Ramón Barea), Laura's bitter father, still resenting Paco's success with land to which he believes his family is entitled. That night, there is a power outage, during which Irene disappears. Shortly thereafter, Laura receives a text message demanding E300,000 and warning her not to contact the police or Irene will be killed. With the family under intense pressure, it doesn't take long until they are at one another's throats, with old animosities resurfacing, and distrust spreading between them. To make matters worse, Irene is ill, and without her medication, she will die.

As one would expect from Farhadi, Todos is aesthetically flawless. Shot by cinematographer José Luis Alcaine, the film captures the sun-kissed Spanish countryside beautifully, with a gorgeous palette of rich browns, golds, and reds emphasising tradition and pride in the past. Drawing the audience's attention to the importance of the passage of time, the film opens by depicting the workings of a cathedral clock. However, the scene also strikes a more ominous note - the bell tower features a hole through which smaller birds can fly, but it is too small for the pigeon who also flits around the clock, trapping him inside; a visual metaphor to which we return several times. Also aesthetically impressive is the opening montage, which introduces us to a dizzying number of characters. Farhadi is at his most economical and leisurely in these quick-fire early scenes, drawing a complex web of blood relations and friendships (if this were a novel, there'd be a family tree included), whilst still creating a sense of intimacy and tight-knit community. It's also worth noting from an aesthetic perspective that although Alberto Iglesias is credited as the composer, the film only features one piece of non-diegetic music, which plays over the closing credits.

Given the nature of the story, a major theme is the weight of the past on the present - seen most clearly in how Antonio still resents Paco's purchase of Laura's land and how Bea believes that Paco is still in love with Laura. More specifically, the film looks at secrets, examining not only the importance of who knows what and how secrets can sometimes bring people closer, but also looking at the more complex issue that much of what we do in any given situation is based on what we assume other people do and do not know. Set in a small community where everybody knows everybody else, Farhadi gets a lot of mileage out of revealing that what some thought were secrets were actually common knowledge (hence the title).

However, it's in relation to secrets where the narrative begins to fall down. Farhadi uses the revelation of secrets as a structural principle, much as he has in his past work. Some of these revelations could be seen as plot twists (such as how Alejandro's construction business is doing), some not so much (why Paco and Bea have no children, for example). The film builds the tension reasonably well until about two-thirds of the way through, when it unveils the biggest secret/plot-twist, and the moment upon which the entire last act hinges. However, it's a revelation so telegraphed, when the scene came, I literally had to remind myself that the character involved was unaware of the information being shared. The actors play the hell out of the scene, but Farhadi is so self-serious about the profundity of the moment that it almost has a comic effect, like a magician too interested in the audience's reaction to a trick to notice he is screwing the trick up.

The film also strays into outright melodrama far more than in any of Farhadi's previous work. The above-mentioned twist is one example. Another is that there's a late-night thunderstorm (although, thankfully, no one has sex in front of a raging fireplace during it). The longer the film goes on, and the more twists and turns Farhadi throws into the mix, the more clumsy his script becomes, with the heavy-handed deterministic plotting lacking the grace and light-handedness of his previous work. The fact that Irene needs medication or will die in a couple of days is a particularly egregious example of this; a detail shoehorned into the narrative to arbitrarily create extra time-sensitive tension. It's a clichéd genre trope more suited to something like New York - Police judiciaire (1990), that is, quite frankly, beneath an auteur of Farhadi's calibre.

Another issue is that the central conflicts aren't as well grounded in the milieu as in Farhadi's Iran-set work, where the issues explored in each film arise directly from that film's immediate environment. This was also a problem in La Passé, but it's more pronounced here. This could be because Farhadi is unfamiliar with the environment (like La Passé, he wrote the script in Persian, and had it translated), but whatever the case, in comparison to the nuance of his previous work, Todos feels like a step backwards. For example, the kidnapping plot, by definition, suggests a villain with a motive, whereas one of the more striking aspects of his oeuvre to date is the lack of antagonists, and the difficulty in assigning the majority of blame to any one person. Additionally, what often went relatively unspoken (class resentment in Une séparation (2011), for example, or domestic violence in À propos d'Elly (2009)), is here much more overt, with the characters presented in a more open manner, their prejudices, hopes, and desires more explicit.

I didn't hate Todos lo saben, but given the pedigree of the director, it did leave me disappointed. Farhadi is on his game aesthetically, and, once again dealing with issues of class and the destructive power of the past, so too thematically. The problem is the narrative. He piles so much on that I just stopped caring, as the plot lurched from secret/twist to secret/twist to secret/twist. There's nothing wrong with grafting one's thematic preoccupations onto a genre framework, of course; filmmakers as varied as Michael Mann, David Fincher, and Christopher Nolan work within genre conventions, but are very much auteurs. However, when doing so, one must pay attention to the genre elements of one's film or they will be overwhelmed and seem like a poorly thought-out distraction, grinding against the themes rather than organically co-existing with them. That's exactly what happens in Todos. Beautiful to look at, and thematically interesting, the film is, unfortunately, let down by a disappointing narrative.

In order to get to a point where the story really begins to play out, there is a very long and unfocused backstory introduction. We don't really know what we are supposed to be taking note of. We feel like a fly on the wall, or indeed the drone filming the family wedding...too distant to be engaged in the real actions. We are given a few mis-directions and red herrings, not that we could ever work this out to begin with. We start to believe that a teenage girl has set up a huge scam. This is preposterous but we do so anyway. One character does suspect the truth and is alone in speaking out. Everyone else tip toes about keeping the secrets everyone else also knows. The victims are ultimately the ones who try to make amends. It's a sad tale where no one wins. A subtle and well made film of toxic family closeness.

The most striking thing about 'Everybody Knows' is just how real it all feels, thanks to the realistic, convincing dialogue and the outstanding performances across the board. This fantastic sense of realism allows you to be invested in the lives of the characters in the first act, and really amps up the tension in the second. It does take a while to really get going and overall it feels quite long, however it never comes close to ever being 'boring' as you always feel involved with the mysteries. Also, it wraps up quite quickly and the resolution isn't as satisfying as it could have been, but this isn't too much of an issue as it doesn't tarnish what has come before. Overall, it's highly recommendable to fans of both thrillers and family dramas, as it is satisfying on both fronts. 7/10

Everybody Knows evokes some contemporary moral dilemmas that play out in melodramatic relationships complicated by the questionable bond of trust among husbands, wives, and lovers. This movie is another perfect addition to Persian director Asghar Farhadi's resume as he is approaching international recognition by writing and directing multicultural film that includes actors such as Cruz and Bardem. This power couple make the film a pleasure to witness in terms of acting, as they are giving us pure emotions in their original language which seems effortless to both. A very emotional and thought-provoking journey that ends with all plot questions answered but leaves with the morality of the story to deal with on you.

The movie starts 30' after you 'll push play. The first 30' are useless crap not related to the core play. And then...it's slow. The end is like the movie just stops in the middle of the story / plot. They should have cut 30' in the beginning, make it quicker and add some useful minutes in the end.

This movie is the best example of how a bad script with so many plot holes will ruin a twice Oscar winner director and an Oscar winner actor and another Oscar winner actress efforts.

I gave it 6 stars just for great acting of all casts specially Javier Bardem. Trust me there is nothing more special about this movie.

It is Okey, every single actor is so damm good, on the leading roles Penelope Cruz does it great and Javier Bardem like usual is allright. The issue with this film is the third act, it isn't a good script ending. Sometimes it remind me to 2013 "Prisoners" with Hugh Jackman.

Regarding to dramatic side, the film is admirable and it worth watching while the emotions are obviously recognizable and it shows how fragile could be the relations between people after the serious problem. On the other side, the film is somehow weak in term of mysterious parts because the kidnappers are not really involved in the film that audiences might not guess who would be potentially criminals at all.

This is a great movie in all respects. Everything is just about right. The plot is intelligent, the script doesn't require you to skip through hoops, all the characters are believable and show their depth as the movie progresses, and ho boy, what a cast! Even the extras are good and the supporting cast is amazing, but Penélope Cruz and Xavier Bardem show in this movie that they are two of the greatest living actors. And if you want to see how to do handheld camera work, this is it. If I had to pick a single movie from 2018, this would be it.

...how good this movie was!

I'd seen The Salesman, which is also directed by Asghar Farhadi and that was pretty decent so had reasonable expectations for this.

'Everybody Knows' is well shot and has excellent cinematography. The build up is slow with a 'who done it?' feel.

A relaxing and enjoyable watch. Just a shame I was the only one in the screen to enjoy this delightful movie

I have always liked, but not loved, the English language movies that Penelope Cruz and Javier Bardem have been a part of. Part of the issue, I think, is that even though they are dynamic, charismatica and GOOD LOOKING screen presences that embody the very definitioni of the term "MOVIE STAR", they are working in a language that is not their native language, so something, I think, gets lost in translation. So, it was with some excitement that I checked out the Spanish language thriller EVERYBODY KNOWS (Spanish Title: TODOS LO SOBEN).

And...I wasn't disappointed. Both Bardem and (especially) Cruz shine in this familial thriller. Cruz stars as Laura, a native of Spain now living in Argentina. She (and her 2 children) come back to her small village outside of Madrid for the wedding of her younger sister. When a bad thing happens on this trip, Laura must find a way out while dealing with lingering family matters and pressures that come to the fore due to the stress of the situation.

Without putting too much of a fine point on this, Cruz is stunning. Not only is she a beautiful woman who commands the screen whenever she is on, but as her character becomes more and more physically and emotionally torn with "the situation" her raw emotions come out and you see a very real portrayal of a mother who will do anything for her children. This performance is (was?) Academy Award worthy - it is that good. This is a strong actress at the top of her game.

She is more than matched on screen by the less showey, nuanced - yet fun, at times - performance of her real life husband, Javier Bardem, who plays a person from Lara's past that is drawn into the events. Bardem won an Oscar for playing the mysterious, scary hitman, Anton Chigurh in NO COUNTRY FOR OLD MAN. This was a a character who barely spoke. In this film, he plays a lively, extroverted fun-loving person who's whole personae is called into question, quite the contrast to the English language characters I have, heretofore, known him for.

Iranian Director Asghar Farhadi (best known for THE SEPARATION) does a good job driving the story - once it gets started - he is sure handed in handling both the suspense/action moments of this movie as well as the family drama during the "many people talking around a table" scenes. This film led off the Cannes Film Festival last year and was greatly lauded.

It's not a perfect film. My friend who saw the movie with me stated (correctly) that he had never seen a movie that "started so poorly but corrected itself and finished as an excellent film" like this one did. The first 1/2 hour to 45 minutes of this 2 hour and 15 minute film is filled with introducing the myriad of characters associated with this family (and the mystery that enfolds), but it is a scattershot approach to film making and character introduction and Farhadi misses the mark more than he hits the mark during this period.

But once the mystery unfolds - and Cruz and Bardem's characters (and acting) kicks into high gear - things get quite good, quite tense and quite engrossing. Well worth the time to check it out.

Letter Grade B+: (C for the first 45 minutes, A for the last hour and a half)

7 1/2 (out of 10) stars and you can take that to the Bank(ofMarquis)

Laura (Penélope Cruz) returns to Spain, along with her two children, to attend her sister's wedding (Inma Cuesta). Her husband , an Argentinian (Ricardo Darín) who is very loved in the town of Laura, stays in Buenos Aires for the money he had donated for different works, including the church. After dancing with Felipe at the wedding reception, Irene complains that she does not feel well and goes upstairs to sleep. Later that night, Laura goes to check on Irene only to find she is missing. She receives a text message from kidnappers urging the family to pay a large sum or they will kill her. A homecoming. A celebration. A mystery. Who knows your fears; who knows the truth !. Someone kidnapped her !. Who did it? Who did it? A family. A kidnapping. A mystery.

Penelopé Cruz and javier Bardem star in this drama with some touches of thriller and intrigue. The film explores the inevitable complications that arise via class, gender, and social differences in the context of a family microcosm by doling out narrative information, piece by piece. Asghar Farhadi shows his deceptively subtle cinematic style, an astute psychological realism and a knack of making ordinary life feel like a suspense thriller. Penélope Cruz and Javier Bardem play Laura and her old boyfriend, Paco, whose reunion during Laura's sister's wedding will be marked by a painful event that will drastically change the course of their lives. This one results to be the fifth collaboration between real life partners Penélope Cruz and Javier Bardem after "Jamón, jamón" (1992), "Vicky Cristina Barcelona" (2008), "The counselor" (2013) and "Loving Pablo" (2017). Well directed by Irani Asghar Farhadi (The salesman, Nader and Simin) who provides his usual trademarks and sense of style. Along with the two greatest international and Hollywood actors Javier Bardem, Penélope Cruz (marriage in real life) this film also has great interpretations of Ricardo Darín, Eduard Fernández, Bárbara Lennie, Inma Cuesta, Elvira Mínguez, Ramón Barea, Sara Sálamo, Roger Casamajor and José Ángel Egido.

It contains a colorful and evocative cinematography shot on location in Torrelaguna, a small town north of Madrid. The motion picture was competently directed by Asghar Farhadi. This great director Irani has has made notable films, such as: ¨The Salesman¨, ¨Darbareye Elly¨, ¨Fireworks Wednesday, ¨Dancing in the Dust¨, ¨Le Passé¨, ¨Beautiful City¨ and his film ¨Nader y Simin, a separation¨ (2011) is the first Iranian movie to win an Oscar. All of them including his style marks: An elegant freneticism that's intensified by the tight, seemingly omnipresent editing; turning domestic crises into a prismatic array of motives and perspectives; a tonal and emotional friction that's simultaneously tragic and transcendent; a character-rich, milieu-specific filmmaking; aiming for a middle ground between intimacy and detachment, and intimate-in-scope-narratives that are consistently reaching for a universal truth. ¨Everyone Knows¨ opened the 2018 Cannes Film Festival with big business. It obtained 8 Goya nominations, including best film, director, screenplay, original, actor (Javier Bardem), actress (Penélope Cruz) and supporting actor (Eduard Fernández). Rating: 7/10. Better than average.

It's long, but certainly not boring. Recently before seeing this I saw Prisoners and I was expecting the same kind of movie, but it wasn't. While Prisoners is very intense and really focused on solving the case, Everybody Knows is not that intense and exciting. But it is a really good movie, because you see the effect it has on everyone. And the amazing acting by the cast certainly helps.

Once I notice the cast, the only I could imagine was 8/10. Once I watch a movie, it is barely OK. Nothing to risky

Out of 2hrs 10min almost 2hrs were spent on boring plot that doesnt keep viewers attention. After 2 hours of boredom torture came 10min of even more disappointing ending!! Very slow story making a viewer wait endlessly for plot twist or at least something interesting.. But that never happened. Once the end was announced I felt like I've been stolen two hours of life. Overall huge disappointment.

Todos Lo Saben was the second movie I watched from writer/director Asghar Farhadi. Before Todos Lo Saben I watched The Salesman (Forushande) from 2016 and I have a bit the same feeling again. The movie isn't bad but it's not a masterpiece either. You have that constant who-did-it feeling and that keeps you interested in the movie, as well as the excellent cast and acting, but to me it's just a bit too slow. Penélope Cruz and Javier Bardem are both excellent actors so nothing wrong to say about them. They make this movie worth watching, but I'm afraid that I will forget everything about this movie in a week. I watch two or three movie per day so it has to be excellent for me to remember and in this case it just isn't. But there are worse movies, much worse, that's a fact.