Terui Yasumasa

The five characters are cut into various "twos" and the restrained direction accurately conveys their emotions and relationships. The tension in the long shots in particular could be described as "expertly delicate". The meal scenes, which appear repeatedly, play an excellent role in accentuating the question of the meaning of 'family'.

One knows how to love and how to hurt. Art students Naoya and Kono. They are different types but like each other. They ask Reiko, an art model who comes to their drawing class, to be their model for an extra-curricular production. The two are simultaneously attracted to her shadowy side, but while Kono falls straight for Reiko, Naoya worries that he is unable to portray her true self, and begins to search for a veil over Reiko's true face. Kono receives pocket money from his companion's lover through mother-son-like conversations. Naoya visits Reiko's house and takes off his coat in front of the front door. The accumulation of small details creates quiet pauses that not only highlight the outlines of the characters, but also give the film an elegance and tranquillity that is probably a quality of the director.

Is kindness a cloak of invisibility? A bank employee, Taturu, learns that a tax-saving measure he recommended has backfired and destroyed a client's family. Blaming himself, Ken becomes apathetic and refuses to come to work. His girlfriend, Yuki, watches over him warmly. Determined to make a fresh start for himself and Yuki, he takes a job as a hotel clerk, but on the first night, he is caught up in an unexpected incident. The next morning he goes to a place where he knows he will be blamed for the crime. The next morning he goes to a place where he knows he will be blamed for the crime, knowing that no one will understand his feelings. A young man who loses sight of himself on the borderline between kindness and weakness. The film depicts the wanderings of a lifeless adult in the urban landscape that modern society has created.

At the last moment, my grandmother said. "...Banana. It's been a long time since all the relatives of the Yoshimoto family gathered at the main house. Grandma was in a critical condition. As everyone looked on at her bedside, she murmured. Bananas...". Does Grandma want to eat bananas so badly? My grandson runs. Every time a box of bananas that he has worked so hard to get is plucked and placed in the mouths of his relatives, a little piece of drama emerges. I want to eat the last banana. This bizarre and comical setting is a true story that the director read in a magazine once. The conversations between men, daughters-in-law and grandchildren that take place at family gatherings are stereotypical and familiar to everyone. The boringness of the film, on the contrary, results in a contrast between life and death.