Ryota is a successful workaholic businessman. When he learns that his biological son was switched with another boy after birth, he faces the difficult decision to choose his true son or the boy he and his wife have raised as their own.
Twelve-year-old Koichi, who has been separated from his brother Ryunosuke due to his parents' divorce, hears a rumor that the new bullet trains will precipitate a wish-granting miracle when they pass each other at top speed.
Members of a cult, modeled on Aum Shinrikyo, sabotage a city's water supply, then commit mass suicide near the shores of a lake. Family members of those affected by it meet at the lake to observe the anniversary of their loved ones' deaths.
Jong-su bumps into a girl who used to live in the same neighborhood as him, who asks him to look after her cat while on a trip to Africa. When back, she introduces Ben, a mysterious guy she met there, who confesses his secret hobby.
In Tokyo, the reckless single mother Keiko moves to a small apartment with her twelve years old son Akira Fukushima and hidden in the luggage, his siblings Shigeru and Yuki. Kyoko, another sibling arrives later by train. The children have different fathers and do not have schooling, but they have a happy life with their mother. 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. 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.Written by
Claudio Carvalho, Rio de Janeiro, Brazil who never watched the movie based on his comments about 3 children in luggage when there were only two.
According to the director Hirokazu Koreeda, though Nobody Knows (2004) was inspired by the true story of the Sugamo child abandonment case, it is not a factual recounting, and only the settings and the ending of the story are based on the true story. Also, the film's version of the story was far less grisly than the actual event upon which the movie is based on. See more »
In the long shot of the mother dusting out the comforter, she swings the carpet beater with her right hand. After the cut she makes a last beat with her left hand. See more »
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.
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