With the minimal use of music, special effects the film has an unpolished look which makes the characters' sense of isolation and despair all the more authentic to the viewer. However, perhaps that was an effective way to show the decline as time went on. It is reported that the eldest boy blamed himself for not being able to take good care of his sisters, instead of blaming his mother. I think probably it's both, You and Keiko, and that Kore-eda knew and used this. It seems that life goes on only. However, when she offers to earn money to give to them by visiting a Karaoke lounge with a man, Akira distances himself from her, rejects the money she offers, and runs home. After that, Akira lets his siblings go outside and play at a park nearby.
The children's birth was never registered and they do not attend school. When their son was born, the man said he had filed the birth notification. In the final sequence, the city of Tokyo is shown in silence as if to underscore the emotional disconnection of the modern city where people live in close proximity but nobody knows and nobody cares. Kyoko,in charge of the laundering, must sneak outside into the balcony to run the washing machine. This film is beautiful in its simplicity. Director Hirokazu explains clearly with the opening credit, however, that while the events are true, the characters of the children are created for the film. So is the chatter, the family life, those first nights especially, in the new apartment.
Kyoko's whisper 'she smells of alcohol' as she passes by her brother, as if seeking reassurance,but mostly her wistful expression,tells of her broken desire to believe in her mother's love. But both Akira,twelve,and his half sister Kyoko, ten,cannot help doubting if they can rely on her. 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. Wonderfully observant camera, superb acting, very good musical theme that is repeated throughout and great use of sounds. Trying to avoid attention from authorities and subsequent institutionalisation or imposed guardianship, inevitably leading to their separation, they are concealing the fact from their landlords and neighbours, continuing to live alone and thus staying together, sadly, with an almost unsurprisingly tragic outcome. That, Children are remarkably resilient but they should not have to become adults before their natural time to do so.
He has to do all the things a parent would do-- maintain the apartment, purchase and prepare food, pay the bills, etc. He retires early in the film, which gives Kitano space and time to conduct an in-depth character study of a conflicted individual capable of both great tenderness and great anger. Keiko, the childish, weak, spoiled mother played effectively -- we instantly hate her -- by You, who's some sort of pop star in Japan , sneaks three of her four children into the new apartment and tells them they can't go out, can't show themselves even on the balcony. Only the eldest, Akira is known to the landlord, while the youngest boy and girl, Shigeru and Yuki, hide in separate suitcases. Particularly, the eyes of the eldest boy, Akira, are very impressive. He lets go at one point, allowing himself to be indulged in video games and baseball. When the money runs out, 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 rent.
Also important is Koreeda's gift for detail, his meditative examinations of fingernails, feet, a toy piano, video games, pieces of paper, objects strewn around a room, the hundreds of little soft drink bottles that are everywhere in Japan, plants, dirt, all the small things children see because they're closer to the ground. Her mother does not appear, but on the way back, Akira promises Yuki that one day, he will bring take her on the to see the airplanes take off at. Shonen I saw long ago and isn't available. The three youngest weren't allowed to go outside, even to the veranda to wash the clothes. 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. Ozu, filming from the traditional seiza or kneeling position, captures in intricate detail the minor sadness and tiny tragedies of modern life.
What's new here though is a sense of the encompassing otherness of big modern cities and the stoicism and resiliency of childhood and perhaps also of the Japanese personality. The smiles diminish and the childish affection for a mother that will never return is gone. He is twelve years old. Keiko is the epitome of cruelty. There are many beautifully poignant scenes in this movie,witnessed silently by Koreeda's unimposing camera,picking up little details of the children's innocent expression of life. Poetic cinema that triggers the heart and the mind.
The film is written, produced, and directed by , and it stars actors , Ayu Kitaura, Hiei Kimura. The film is rarely concerned with the results of the events and spends equal amounts of time with the losers as it does the winners. 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. Her timid smile as her mother takes on the adventure of painting her daughter's nails, though only managing to slop the nail-polish untidily over her nails and onto parts of her fingertips in her current state of inebriation, is a heartbreaking moment that speaks of Kyoko's longing to believe that her mother does care. A mysterious videotape kills whoever watches it, unless the viewer can solve the mystery behind it.
Since the lease is for only two persons, the other kids must be quiet, as they don't want to bring undue attention from the landlord and his wife, who also live in the complex. All four children, who conjured phenomenal performances, were played by Japanese youths with no film backgrounds. Nor will you forget the kids, especially the beautiful boy, Yûya Yagira, who may be growing inch by inch into a star even as we speak. Duty-conscious and extremely good-natured, her dispositions are almost angelic. It is on one of these trips that Shigeru starts a conversation with a high school student, Saki, and this soon blossoms into a friendship between all of them. The bond that is already in place is extended to the new arrival; the tension comes from seeing how far that will go.
Archived from on 27 September 2011. But then, it is a true story, and what we see is close to being a documentary. They want more than anything to trust her,but how can they when she leaves them and disappears for weeks on end,only to spring up again in as sprightly a manner as if she were returning from a day at work. This ranks at the top of my favorite films. In life, things don't always work out in this neat and uplifting fashion.
The story of a desperately poor village that hires a rag-tag bunch of samurai to protect itself from bandit raids, Seven Samurai basically created the template that almost every action movie since has followed. 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. And then it is back home to the kids. It does not drag at all and has moments of humor mixed with pathos. Their imprisonment in the flat is compensated with bribes in the form of gifts after an especially long absence,and promises,particularly for the elder two,of a better future she is currently 'in love' with a rich man who will provide a life of luxury for them all.