Haru, a bookstore clerk, talks to Yukiko pretending to ask for directions. Haru has detected deep sorrow on Yukikoʼs face. Meanwhile, Haru has been spending days following Tsuyoshi discretely and checking his expressions. In the past, when Haru had lost her mother as a junior high school student, she met and talked separately to Yukiko and Tsuyoshi by chance who seemed to suffer from heartache. The action was brought by the remorse that Haru couldnʼt help her mother while knowing her sadness. Haru has kept watching Yukiko and Tsuyoshi now and then. Occasions that Tsuyoshi, who has been aware of Haruʼs behavior, appears at her workplace and Haru once again talks to Yukiko unfold new dimensions in each relationship. Haru confronts with her own feeling toward her mother and grief during the days passing with the two.
杂谈系、漫游系、散步系。声音构建记忆。
故弄玄虚的，形式主义的
HKIFF 48' 《欢乐时光》以后，就有大量把无聊当有趣的电影，本片尤甚。镜头僵硬，念白唐突，无甚看点。
在那边的一直都在这一边；不是女主走进了这些人的生活，在电影中我们看到的仿佛是被拼凑在一起的不同片段，但作者的这部电影离开了穿插就没法成立了，作者的这个思路/方法要首先被识别到，这也是这一类电影不同于《千寻小姐》的地方，我觉得前者的方法自觉还是要诚实一些的，这里隐含的要求也不再是外来的。另一方面，也算是比较诚实的体现在于（我自己的揣测），当一个词被翻译为独一性的时候使得努力的方面被保留又能避免“个体性”一词太让人往现实的意义上想陷入到生出现实的思维里。而我之所以觉得这里的努力还有一点诚实的含义原因也在于——对我而言，失去从来就不是作为一个理论先出现的。
#TIFF2023 纪念一下第一次在日本影院看电影。本片太单调空虚。