“No one Knows I’m Here” speaks the story of Memo (Jorge Garcia), a loner hiding out with his uncle Braulio (Luis Gnecco) in a remote piece of Chile. Memo likes breaking into people’s homes for reasons unexplained, and would show all the earmarks of autism spectrum, however a line of dialogue neglects that. He helps his uncle to tend sheep while denying any chance to go to open occasions or be sociable. He barely speaks to Braulio, who chides him about his anti-social conduct and propensity for breaking and entering. Around night time, Memo at times dresses in the flashy outfits he makes and performs for a crowd of one. Regardless of every one of these details, Memo remains something of a riddle for a large portion of this Netflix release’s runtime.
No one Knows I’m Here Cast:
The cast of the movie includes Nelson Brodt, Juan Falcón, Julio Fuentes, Jorge Garcia, Luis Gnecco, Alejandro Goic, María Paz Grandjean, Solange Lackington, Millaray Lobos, Gastón Pauls, Eduardo Paxeco and Roberto Vander.
No one Knows I’m Here Review:
“No one Knows I’m Here” is an incredible film, with a story that creates in significance with the entry of minutes. Its last moments are amazingly extraordinary and with an outcome that will make more than one reflect. The story by Antillo himself, with Enrique Videla and Josefina Fernández, quickly makes sense of how to interface you with the story, to such a degree, that one rapidly needs to get some answers concerning the historical scenery of Memo, especially his adolescence. The usage of flashbacks helps in that, since we see that heartless the hotshot from the vision, dreams and disappointment of an adolescent.
It needs to say something about the brutal price of fame and the terrible, frightful machinations that settle the bill. It just takes too long to even think about getting these thoughts into the plot because of the clichéd handling of its hero’s dark past. The grown-up Memo sticks to his dreams of fame, sewing marvellous outfits to wear while his creative mind considers what could have been.But, this is a long way from convincing, emotionally including material since Memo’s characteristics play as unimportant eccentricities. When we understand that Memo’s activities and responses originate from a deep well of blame and trauma, the watcher’s understanding may have run too slim to even think about supplying the fundamental empathy.