No one knows is a movie based on a real case by Japanese director Hirokazu Koreeda. It tells the story of a single mother named Megumi Fukushima, who raised four children from different fathers alone. Because of financial problems, she could not bear the pressure in the end, and left the house with 200,000 yen, leaving the house and abandoning her children. To be honest, Japan and South Korea often use film and television works to express their own problems. I have always admired it. It seems to be more understandable and acceptable to use the direct and vivid method of film to face the public. If the film "Su Yuan" expresses an explosive and desperate tragedy, then "Nobody Knows" expresses a silent and continuous tragedy. Silence runs through the whole play, and the tragic emotion is not a sudden and short-term continuous outbreak, but a tragedy that is intertwined with life for a long time. Rather than a movie, I prefer to think that this is a documentary. Director Hiro Kore-eda's approach to life has to be said to be a highlight, and this approach to life is more and more silent and sad. Append to a pole. There is no mother at home for a long time, life is long ago, water and electricity have been stopped, the house is dirty, sell clothes for money, eat paper when you are hungry, bury her dead sister, and go to the park to steal water to drink. Silence, yes you can only see silence. It's very strange that this show wants you to cry, but you can't cry, this is the charm of silence, it is continuous throughout the whole show, and even there is a dynamic side in it, this is life. Life is changing, you can never guess what will happen in the future, just like we can never predict death in extreme silence, the sudden arrival makes it hard to speak, want to say something, but can only hoarsely pull the throat, Random gestures in mid-air. Xue's death was very sudden and common. He just fell from the chair and couldn't stand up again. Ming could only look at Xue, Shaxi could only look at Xue, and Jingzi and Maodu could only look at Xue. Snow, watching quietly. I believe you will never forget the girl who used colored crayons to draw a funny portrait of her mother, who would step on her loud shoes and wait quietly for her mother's arrival at the station on Christmas Eve in winter, that innocent smile like a summer flower. This child, Xue, has only been out of the house twice, one was dragged into the house by a suitcase, the other was dragged out of the house by a suitcase, and finally buried together with the suitcase. She said that she wanted to see the plane, so Ming and Shaxi buried it on a lawn near the airport, and watching the plane cut through the vast sky every day might be her only wish. During the whole process, you didn't even see a single person crying, no one shouting, uneasy, fearful, you only saw silence, calm, godless pupils, and Ming in the snow trembling hands. Life is quiet, life is silent in the eyes of children. The expression of time allows the audience to sink into it slowly and slowly. Sometimes you can't even stand your temper and can't accept such ordinary and ordinary events, like the little things that happen around you. However, this is the genius of the director. He will use silence and time to slowly form, mature, and improve the audience's inner worldview. You see that time is the real passage of time. The time span that spanned a year was filmed by the director with the mentality of a recorder. The children were actually one year older, and the room was rented for a whole year. . You may not be able to perceive it, but children are indeed growing up slowly. Every scene is growing up. The camera records the footsteps of their growth, so the time you see is the real time. recorded time. So, the sadness you see is real sadness, and the happiness you see is real happiness. With a mother's home, it may be extremely hard, but it is warm and warm. It was Minghui, who went to the supermarket to buy the curry that her mother wanted to eat, and took it home for the remaining 100 yen. That was when Jingzi saw her mother's footsteps echoing in the corridor, she would open the door obediently and serve her mother a cold curry. But the mother abandoned the children, and the weak abandoned the weak. The mother went to pursue her own happiness, and only twelve-year-old Ming was left in control of the family. Ming did not cry, he just remained silent, watching his three younger siblings, worrying about the dwindling yen, and worrying about his younger siblings. Expecting a mother and lying. Sometimes children are more sensible than we think. The younger brothers and sisters have long known that their mother abandoned them and will not come back. They did not cry, they just lived their lives quietly. Repression and silence, this is the exact feeling of the viewers. Director Hiro Koeda did not feel sensational, he just quietly presented the film in the hearts of the audience. You don't see any deliberate scenes, everything is so natural, so ordinary. The biggest point of a tragic film is to arouse the emotional resonance of the audience. In this film, he did not incite, you can also feel it, because this is the charm of life, the charm of silence. Such a heavy and sad film, why use such a bland or even silent tone to describe it? Because sometimes silence is more powerful than speaking. Yes, you can feel it without expressing it deliberately. Unable to go to school, unloved, without water and electricity, lack of food and clothing. The room is messy, the yen is getting less and less, and the hunger starts to eat paper. Jingzi hid in the closet and refused to come out. Friends didn't come to play at home. Ming bought fewer and fewer things. After Ming buried the snow, Looking up at the plane flying over, and brushing his messy black hair differentially, he sat like this until dawn, and the Japanese-style suppressed emotions lingered in everyone's heart. At the end of the story, the children are still living as usual, going to the park to steal water to drink, waiting for the kind-hearted salesman to give subsidies, they will be happy to pick up Japanese yen from the telephone booth, walking on the street, jumping on the street, the plane passing through the sky, the children lining up. Walk in a row towards home.
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