Nobody Knows I'm Here

Despite a bumpy screenplay and some odd tonal choices, Garcia excels as a monosyllabic Bigfoot who casts a big shadow and uses it hide from the world.

Still best known as Hurley from “Lost,” Garcia quietly electrifies here in a role that feels like a breakout; for all the film’s superior craft and unsettling atmosphere-building, it is his sympathetic soulfulness that delivers the most resonant harmonics.

Not all the misdirection is elegant, but the film’s tenderness flowers in a lovely, unexpected final shot.

Writer director Gaspar Antillo peels the cover off this mystery with the patience of an art cinema veteran, limiting his dramatic “incidents” to amplify their impact.

Nobody Knows I’m Here wants to make a statement about the harsh price of fame and the awful, hurtful machinations that settle the bill. It just takes too long to get these ideas into the plot thanks to the clichéd handling of its protagonist’s dark past.

Lo sutil en sus momentos emocionales, hacen que "Nadie sabe que estoy aquí" sea creíble sin caer en los peligrosos clichés que podrían venir acompañado de su trama, a pesar de lo lento que se pueda sentir para algunos espectadores.

Es una historia que tiene un trasfondo bastante emocional que llega a cautivar.

Nobody Knows I’m Here is essentially a drama. It has a strong aura of mystery but it's still a drama. However, there's also some elements of a slow burn thriller in the plot, but that mix is ​​a mix to which the script cannot do justice. Nobody Knows I'm Here is a film about demons from the past and how, despite having escaped them in exile, you will eventually have to face them, although the main character's demons aren't as dramatic as might be expected, considering the gloomy tone that reigns in his daily life and in his own personality. Memo (Jorge García) was a good singer when he was a kid but since he didn't have the good looks to become a star, he became the voice of somebody else doing lip-syncing, until a certain event meant the harsh end of that point of his life. Now he spends his time reflecting on that career that was stolen from him and it's evident that despite his apparent detachment, he seems consumed by those thoughts. The interesting thing is that García barely speaks in the entire film. His performance and, obviously, what we can infer from his personality and, above all, what he's thinking are rooted in his face expressions and in his body reactions. Needless to say, Garcia offers his best performance since what he did on Lost. Finally, the film doesn't really offer a catharsis or a resolution, but it seems that Memo manages to remove a poison that was devouring him. Maybe in his own way but he does it and although his fate is uncertain, the path that leads him there is a story worthy of attention.