手の話 (1996)

Signals like the moon, streetlights like stars. The camera warmly captures the winter night roads, and the director's eye is also that of a director looking at two people who are more than friends but less than lovers. When Sakai chooses what is most important to him without hesitation, i.e. when he accepts the responsibility of loving her, the period in which she "had chosen" to leave him gives the story a deeper depth. A film that uses unrealistic motifs but depicts the birth of happiness in a sufficiently realistic way.