Nessuno lo sa

A mom that should not be a mom.

A kid that wanted to be a kid and is never allowed to be it.

Fantastic acting overall.

A punch in the stomach.

When we are talking about family dramas, Koreeda does it like no other.

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.

Today I went to the pre-screening of "Nobody Knows," a stunningly brilliant film by director Hirokazu Koreeda who also directed the philosophical "After Life."

What if I were a 12 years old boy and left alone to take care of two younger sisters and one younger brother in a big city like Tokyo, and I have to hide them in the apartment so nobody knows about them? That's what I have been thinking when I was watching this film and how the film gets my sympathy for these children. It allows me to experience the ordeal through these children's eyes and the transcending performance by Yuya Yagira, who is the youngest actor ever won the best actor award in the history of Cannes Film Festival.

Director Koreeda allows the camera to take the time to shoot and he never rushes from one scene to the next. He let me observe, let me feel, let me be as close to these children as I possibly can, until I can no longer take it and until I am drowned by the frustration and sadness. I become as helpless as those children, because I simply can not resist the urge to help them. That makes me cry. Through out the film, Koreeda masterfully positioned his lenses to ordinary objects around these children, such as simply a finger, a hand, a stain, a foot, or four empty glasses. But through these zoomed in images, I have no trouble to "see" and "feel" what's going on in the whole picture. And it tells the story in a more profound fashion and more personal way, a story you will never forget, along with those images, sometimes, even the music.

The 12 years old boy is played by Yuya Yagira, who has a haircut like the Japanese animation character. Yagira's outstanding performance is original and remarkable, and simply unforgettable. Through him, you see a premature 12 years old boy who is acting as an adult to take care the other kids, meanwhile, he is still a 12 years old kid, who will just like other kids around his age. That's make this movie can be so hard to watch sometimes, because no matter how hard your heart is, it will be softened by watching his struggle to survive. It's hard to leave this movie with dry eyes.

There is no doubt in my mind that this is the best film I have seen this year.

A woman by the name of Keiko moves into an apartment with her son, Akira, smuggling in her other three, younger children so the landlord doesn't know of their existence. Some weeks go by, and the mother meets a man. She goes off with him and doesn't return for many months, leaving twelve-year-old Akira in charge of the household. He struggles to care for his family, barely scraping by with what little money his mother left. Somehow, he manages to do it with no serious ramifications. Keiko eventually returns, but it's not for long, and young Akira is forced once again to take up the mantle and look after his siblings; though this time it will be a much more difficult and lengthy process, with far more devastating results.

Hirokazu Kore-eda's 'Nobody Knows' is a powerful, poignant drama based on the infamous Sugamo child abandonment case of 1988. The film is quietly affecting, telling the simple story of how Akira is forced to act like an adult to his siblings, trying to keep them safe and sound while being but a child himself: a Sisyphean task if ever there was one. Kore-eda's screenplay is free of unnecessary sentiment or pretention; it is direct and unflinching, exploring many themes, the importance of parenthood being but one.

Kore-eda's story is honest and emotionally charged, with minimal dialogue and layered characterization that is full of vivid believability and depth. The audience cares deeply for Akira and his siblings, as well as understanding- if not liking- Keiko and how she could leave her family for so long. It is masterful, understated screenwriting that will really hit home. Kore-eda's best films explore humanity and connection, how everybody needs somebody sometime (to paraphrase the Dean Martin song). 'Nobody Knows' does too; to great effect.

It is worth mentioning that- in addition to writing and directing- Kore-eda also acts as his own editor, so the tone and pacing is consistent from page to screen. The film moves at its' own pace, which is reserved but steady; ever-forging onwards towards the dramatic conclusion like a soldier in the snow. Also of note is Yutaka Yamazaki's restrained and naturalistic cinematography. His work is subtle and assured, resulting in images captured both with clarity and an artistic sense of space and composition. Yamazaki and Kore-eda have worked together numerous times, with their collaborations usually resulting in striking, visually inventive films that one remembers long after seeing them. 'Nobody Knows' is another notch on their proverbial shared belt.

An old showbusiness adage goes "you should never work with children or animals," which is proven to be complete poppycock when one witnesses the efforts of the remarkable cast in 'Nobody Knows.' Yûya Yagira stars as Akira, delivering a captivating, masterful performance of integrity, profundity and subtle emotional perspicuity. Yagira is a brilliant performer, who can transmit emotions and say much- near incomparable in intensity and eloquence- with his physicality and through his silence. He was only thirteen when the film was shot and Yagira shows more intelligence and depth than most actors four times his age. He is a remarkably intuitive and natural actor who is fascinating to watch; and the power of his performance will have you frequently in tears while watching 'Nobody Knows.'

His siblings are played wonderfully by Ayu Kitaura, Hiei Kimura and Momoko Shimizu, with Shimizu particularly impressing as the youngest child Yuki. Yukiko Ehara- better known as You- plays the mother, Keiko, and is perfect for the character. You doesn't play her as totally selfish, more as a young woman whose life raising children alone isn't what she wanted, and is desperate for things to change. She brings to the character much depth and charm; despite being slightly incorrigible. Rounding out the main cast is Hanae Kan, who plays a school-girl Akira befriends. She makes for a welcome addition to the film, and delivers a strong performance to boot.

Hirokazu Kore-eda's 'Nobody Knows' is a sad, quiet film about abandonment that will move any with heart strings left to tug. Featuring powerful performances from the cast- especially the young Yûya Yagira- and striking cinematography from Yutaka Yamazaki; the film is not easily forgotten. Poignant, profound and powerful, 'Nobody Knows' is unaffected, uncompromising and unforgettable cinema.

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.