Everybody Knows

Name: Everybody Knows
Genre: Drama, Mystery, Thriller, Crime
Released: February 8, 2019
Duration: 132 min
Rating: 68
Cast: Bárbara Lennie, Carla Campra, Eduard Fernández, Elvira Mínguez, Inma Cuesta

2019

METASCORE

Generally favorable reviews based on 35 Critics

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USER SCORE

Generally favorable reviews based on 16 Ratings

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7.3

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7.3	User Score Generally favorable reviews based on 16 Ratings

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Everybody Knows (TV Spot 1)

Movie Details & Credits

Focus Features | Release Date: February 8, 2019

Starring: Bárbara Lennie, Carla Campra, Eduard Fernández, Elvira Mínguez, Inma Cuesta, Jaime Lorente, Javier Bardem, Penélope Cruz, Ramón Barea, Ricardo Darín, Roger Casamajor, Sara Sálamo

Summary: Carolina, a Spanish woman living in Buenos Aires, returns to her hometown outside Madrid with her Argentinian husband and children. However, the trip is upset by unexpected events that bring secrets into the open.

Director: Asghar Farhadi

Genre(s): Drama, Mystery, Thriller, Crime

Rating: R

Runtime: 132 min

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Awards & Rankings

27	#27 Best Movie of 2019
19	#19 Most Discussed Movie of 2019
2	#2 Most Shared Movie of 2019

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Metascore

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Critic Reviews

Entertainment Weekly - Chris Nashawaty

Feb 6, 2019

If there’s one nit to pick with Everybody Knows, it’s that Farhadi’s films, as excellent as they are, are starting to feel a bit same-y. He’s plying the same family-in-crisis formula he’s worked before. That formula still works like gangbusters, but it’s becoming a formula nonetheless: Happiness and community curdle into paranoia and suspicion. Read full review

TheWrap - Steve Pond

May 10, 2018

This is not Farhadi doing a genre exercise; as is most of his work, Everybody Knows is a quietly gripping examination of societal divisions, of class, of secrets that bind us together and pull us apart. Read full review

Chicago Tribune - Michael Phillips

Feb 16, 2019

Everybody Knows finds Farhadi (working with longtime editor Hayedeh Safiyari) consciously going for quicker-than-usual cutting, rarely lingering over anything, always setting up the next part of the mystery. The acting’s uniformly strong, always at the service of a knotty story. Read full review

The New York Times - A.O. Scott

Feb 6, 2019

Farhadi’s choreography of the shift from rowdy celebration to frantic desperation is the most effective part of the movie, and he keeps the suspense going on several fronts. Read full review

Christian Science Monitor - Peter Rainer

Feb 8, 2019

As a piece of storytelling, Everybody Knows covers a vast expanse of human experience, but it doesn’t dive very deep. Read full review

Slant Magazine - Sam C. Mac

May 9, 2018

Asghar Farhadi falls back on the expository dialogue and dubious perspectival shifts that he frequently resorts to as a means of wrapping up knotty narratives. Read full review

The Film Stage - Giovanni Marchini Camia

May 9, 2018

Overwriting has been the constant weakness in Farhadi’s filmmaking, but here the writer-director — who should really consider passing scriptwriting duties on to someone else for a change — truly outdoes himself. Read full review

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User Reviews

Dr-Hooshang

Dec 1, 2018

This review contains spoilers, click expand to view. What's the fact which everybody knows and you don't? this is the most interesting element in this movie. The screenplay let you or in better word make you to investigate truth and to suspect anybody in the story.
But after you know truth story is no more interesting. It could be more exciting if the story had a complex ending.
At the end Bardem did his best as always.… Expand

0 of 2 users found this helpful02

amheretojudge

Feb 8, 2019

She Knew. He Did Not.

Todos Lo Saben Farhadi's captivating vision is challenging in its own exotic milieu. This who-done-it case is far away from being a mystery- as it claims the title to be known and familiar to everyone- and yet so close to the thrills that you can practically hear theShe Knew. He Did Not.

Todos Lo Saben

Farhadi's captivating vision is challenging in its own exotic milieu. This who-done-it case is far away from being a mystery- as it claims the title to be known and familiar to everyone- and yet so close to the thrills that you can practically hear the heart pumping faster. His meticulous script and observational humor in early stages spreads the myth around the village stories like you have been here before, you have lived your whole life here and are now about to visit those places once again. This big hash of memory refreshment adapts an apt environment for a marriage, with few bitter equations, sweet memories, humorous locals, a sad untouched and inadequate case that hangs low and above all the old uncomfortable chemistry reincarnated by new easy ones.

Farhadi makes sure that these old testaments are iterated at the most vulnerable state in order to keep the emotions at brisk and audience lost in its malleable characters. And just like people surrounding us, each of them comes with their own baggage, enough to not be easily neglected, but these Sherlock-like vibes of the film gets lost in an eerily beautiful love story.

To pull that out of the bag, after we sink in so deep into it, ought to Farhadi's greatest triumph, the humility among the lead cast that supports them at critical stage is what we want to hold onto. But Farhadi changes the tone once again, and clearly has some other plans for us, this mellow and poignant act shifts completely into a thrilling crime drama without a notice. This is where the film gets juicier when Cruz's husband comes home and silent pitches in the room replaces the petty arguments and even pettier suggestions.

The crisp tension created in those dinner table conversations cuts through all your accusations and questions like never before, once again those big bold question tags pops up as you start to blame each other. Farhadi is clearly fiddling with you subconsciously at this stage where half knowledge does grow dangerous. Cruz as the sobbing, panting victim is much more firm in her voice than she appears, her most of the screen time might be to portray a scattered protective guardian but her background tales are powerful enough to keep her husband shut for the rest of the conversation.

But this has always been Bardem's film, the underdog and the topic of all the gossips, he gets much more wider range to portray, from being suspected to suspecting, from a loser to a winner, his peace will be the only reason to leave us happy after the reel ends. Personally, I prefer them when they are tangling with other characters as they share the screen, those quick glances across the room and a notions to lean towards each other at a point of crisis, speaks enough volume for their characters. Todos Lo Saben is the aftermath of love story, unlike any other equations, this one still hasn't worn down as it pulsates vividly and paints a clean crime on screen.… Expand

0 of 0 users found this helpful00

Lajaleaa

Dec 14, 2018

"¿Pero como puedes ser tan inocente?"
.
( 68/100 ) . Este proyecto cinematográfico, que no es de Hollywood pero sí es de relevancia internacional, tiene un contexto muy interesante. El director es Asghar Farhadi, nacido en Iran y responsable de levantar el nombre de su país en los festivales"¿Pero como puedes ser tan inocente?"
.
( 68/100 )
.
Este proyecto cinematográfico, que no es de Hollywood pero sí es de relevancia internacional, tiene un contexto muy interesante. El director es Asghar Farhadi, nacido en Iran y responsable de levantar el nombre de su país en los festivales de cine internacional más importantes del mundo. Ya sea en Cannes o en Berlin, Farhadi ha sido premiado enormemente por la complejidad de las situaciones sociales que expone en sus proyectos. Películas como About Elly (2009), su más relevante y ganadora de un Academy Award A Separation (2011), The Past (2013) nominada a mejor película extranjera en los Golden Globes del 2014 y su también ganadora de un Oscar A Salesman (2016) lo han demostrado como un director comprometido con su cultura y su arte. Este año presentó ante Cannes su nuevo proyecto y su primero que no es de colaboración Iraní. En Cannes, su mayor éxito fue la crítica, y a partir de ahí buscó su lugar en varios festivales internacionales.
Todos Lo Saben es una tensión social disparada gracias a un acontecimiento trágico que revelará antiguas heridas, rencores e intenciones cuyas interacciones le da el valor a la película. El ejercicio social que provoca Farhadi es muy similar al que exige en sus proyectos; al estar escrita por él mismo, se nota un control total en las diversas direcciones que planea para los personajes y eso le da cierta certidumbre y garantía a su público. El problema está en el primer acto, pues será un reto para el público cargar un establecimiento de personajes que puede ser algo largo y, sin el contexto adecuado, inútil. Éste acto, de casi 40 min, resta expectativa y atención al público, pero también lo deja con ganas de un cambio drástico de situaciones, y cuando ésto pasa, en el segundo acto, hay una sensación de observar un nuevo comienzo. Esto no es realmente benéfico, pues las posturas del elenco se vuelven un poco reiterativas y aunque el objetivo del segundo acto es revelar de la forma más sutil e inteligente los discursos de cada personaje, su pasividad lo hace algo pesado de seguir. Y durante el tercer acto, en medio de la solución del misterio y la intriga añadida, el tiempo para apaciguar la tensión y generar nuevos misterios también se siente muy arrastrada.
Por otro lado, es necesario recalcar que esa pasividad permite un cuidado de la ambientación correcto. Hay un permiso que tienen los actores para crear esa ambientación y presentarla de la forma más personal, humana y dramática posible. En ese aspecto, el elenco hace un trabajo muy respetable para sostener la película, pues la tensión total la crean ellos. La responsabilidad se ladea entre Penélope Cruz y JavierBardem, sin embargo la participación de Ricardo Darín, Bárbara Lennie y Ramón Barea también brilla en sus respectivas escenas.
La fotografía también es decente, y aunque no busca aprovechar el panorama de la locación, sí cuida el espacio que los personajes ocupan en la pantalla para generar cierta poética corporal.
Es algo complejo reseñar ésta película, pues los elementos exitosos se homogeneizan con los elementos deficientes. Todos Lo Saben no tiene un mensaje específico, pero sí una trayectoria muy concreta; y por más intensa o sensible que sea una escena, hoy otra pesada y desgastante. No quiero decir que Todos Lo Saben es mediocre, pero entre errores y aciertos logra un equilibrio duro de digerir en donde su preparación es mejor que su sabor.… Expand

0 of 0 users found this helpful00

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