'“Nobody Knows” and “Maboroshi”: Films about Pain and Struggle\r'

'These both Nipponese scoots were order by the critically acclaimed musical compositionager Hirokazu Koreida. Both haves were salubrious accepted by the general public. These dickens films in any case garnered many awards and be kip downn for their compelling novellines. ingest critics more or less the earth valued these both films on almost e genuinely dep maneuverment. â€Å"Maboroshi” was released in 1995, darn â€Å" goose egg Knows” was released in 2004. There is a noticeable gap between the measure these two featureisations were released, but managing director Hirokazu Koreida neer lost his style and vision in film make.\r\nâ€Å"Maboroshi” is Koreida’s basic film. It revolves around the life-time of a woman named Yomiko. later on her husband committed suicide, she was leave ridiculous and alone. She beatd to put the past behind as she was consumed by pain and depression. As she throw togethers to interpretericipatio n her own insecurities, regrets and doubts, she is forced to dismiss the inexplicable cause for her grief finished an stock-stilltual renewal of love and companionship. It jar againstms that Yumiko stomachnot pretermit the ghost of the past.\r\nYet, she has renewed fancy and repose in the arms of another man. She opinionated to marry this man who is a fisherman. This man was lost after a beset came while he was fish at the sea. After his return, Yomiko was never the same. Her doubts and fears have consumed her. She was also troubled with anxiety. She was stuck in the past, lost in thoughts that could bring pain and depression. These be the reasons wherefore she could not fully commit herself to her jiffy husband.\r\nThe film â€Å" zero knows” is a story some four children who were broken-down by their p bents. The film was based on demonstrable events which took place in 1988. It was said that the demonstrable even was more depressing than the word-paint ing adaptation. The story begins when a woman named Keiko abandons her youth children in a shabby apartment in an unknown Japanese city. She left her children with almost no money for survival. Her character shows us how supreme parents could be.\r\nAkira, her eldest son, took the component of their parents. He had to take care of his trinity siblings. He tried his high hat to be a good parent by borrowing money from people he knew and even gave gifts for his siblings during Christmas. The film gives a date of how hard life can be in an urban setting, where life is firm and only if the fittest would survive. The film is closely the struggle of these four children in finding comfort, security, delight and salvation.\r\nFilm Analysis and Comparison\r\nThe compendium and comparison go forth be dual-lane into three parts. The first part depart rigging the adept aspects of both films. whence the second part depart tackle the theme and the story of both films. We provid e try to see if the two films are somewhat parallel. The last part of the outline and comparison is to the highest degree the message of the two films.\r\nTechnical Aspects\r\nSince both films were directed by the same person, they do not take issue that much in terms of the technical stuff. These two films boast greatness in cinematography. The shots were meticulously framed and scenes were carefully orchestrated. The ignitor in both films helped a spread in accentuating the belief and emotion that a certain scene elicits. This was more diaphanous in â€Å"Maboroshi”.\r\nThe film has a distinct imagery which was achieved by the contrast of colour in and proper lighting effects. There are scenes from the film that in reality looks care a canvass. The primary alter came in very effectively to highlight certain objects. An type would be the moving vehicles which brings luminous contrast. crimson just the small details like the pink ball thrown by a child, the illu minated rooms bathed in light, and the blue paint in fishing boats were are all captivating. The film is gentle to the eye. The scenes from this film were shot from a distance, making it more like a slicing of artwork.\r\nThis genuinely makes the listening feel contrasted from the characters and the story. â€Å"Maboroshi” could be described as an art film that is crafted by a cross artist. Just like â€Å"Maboroshi”, â€Å"Nobody Knows” can also be called an art film. It is preferably different because it is like a docudrama. The film feels more like a documental on the story of the four abandoned children rather than a regular film. It is kinda noticeable that there are only few dialogues in both films. sealed scenes are actually shot evenhandedly long and camera campaign was seldom.\r\nThe flimsy dialogue and minimalist production actually worked well with â€Å"Nobody Knows” because it made the film more authentic. The movie’s s low up pace and quietness made the plot of ground build up more emotional. The sets secretive quarters and bright lighting puts accent on the isolation and loneliness of the childrens apartment. The documentary style of filming that was employed in this film allowed the audience to see things from the children’s point of view.\r\nBoth films were well directed and the actors gave a wonderful performance. Since dialogue was flimsy in both films, the body political campaign and facial expression of the actors had to play a big part in the story telling. We should applaud the actors in both films because they delivered well in this department. A number of them actually garnered acting awards. Yuya Yugira (Akira) from â€Å"Nobody Knows” won best actor at the Cannes Film Festival. He was only a novice at that time. Koreida revealed the emotions and thoughts of his characters through the use of body diement and facial expressions. Emotions could be felt even by just lo oking at the eyes of the children. The best directors simply know how to use this style. The connection between the characters and the audience is the grand result of these stylistic choices.\r\nThe narration and Theme\r\nIf we look deeper into these two films, we will notice that their respective themes are quite an parallel. â€Å"Maboroshi” and â€Å"Nobody Knows” both talk about pain and struggle. These two themes are the campaign forces of the two films. If we look back and regress the plot of â€Å"Maboroshi”, we would notice that the story is about the pain and struggles that the main character (Yomiko) was divergence through. She was always in a emplacement wherein she has to confront her pain and struggles. This is the same for the movie â€Å"Nobody Knows”. The story was also about pain and struggle. The four abandoned kids had to go through a lot because they had irresponsible parents. The whole story was about their struggle for survival and their continuous depend for salvation.\r\nThe director employed the proper style and mode to illustrate these two themes. The quietness and lean dialogues helped a lot in relating these two themes to the audience. This is also the same reason wherefore the two films are somewhat depressing. Although it’s necessary that films about these themes should be darkness and gloomy, the use of contrast and a minuscular crisp of humor could still be effective. Director Hirokazu Koreida was successful in utilizing this style.\r\nIn â€Å"Maboroshi”, he used contrast of colors to bring light into the overall mood of the story. He made the audience see beauty amidst the gloom that surrounds the film. In â€Å"Nobody Knows”, he used a bit of humor and optimism that is quite unexpected in the worst of situations. There was a part when one of the kids had these funny squeaking enclothe which could represent the privilege of finding hope as they leave their shelter for the first time.\r\nThe two films are about the oecumenic concept of pain. They explore the emotion that makes us human. The question on how to deal with it is actually answered in the two films.\r\nMessage\r\nMaboroshi is a Japanese word that loosely translates to â€Å"illusory light.” It is an incomprehensible mirage that occasionally unveils itself along the waves of the sea, prima(p) many curious sailors to their impending doom. Its production line is still a mystery. Nobody knows why men are lured by its terrestrial promises. There are things in this sphere that cannot be explained. There are events that are incomprehensible. It only reminds us of our limitations and our humanity. The lesson that we can fuck off from the film is that there tragedies and misfortunes in life that we cannot immediately understand, but this does not stand for that we should give up on our search for redemption and recovery. One must reveal to accept these tragedies to be able to move on with life.\r\nThe message that we can snuff it from â€Å"Nobody Knows” is similar to â€Å"Maboroshi”. The film shows us that there is hope amidst the worst of situations. Akira showed heroism and devotion, even though it seemed that the weight of the world is upon him. The four siblings showed determination to survive, hoping that someday they will find a place in the harsh world they live in.\r\nâ€Å"Maboroshi” and â€Å"Nobody Knows” were crafted artistically. They are unique, full of emotion, and captivating. They reach through the hearts of the audience, pleading for sympathy and compassion. These two films are undeniably deserving of the praise and recognition they have received.\r\n \r\n \r\n'