At work, Kanao, a courtroom portrait artist, silently observes the highest profile crimes and scandals of the 1990s and decline of Japanese values without judgement. At home in joys of marriage, he quietly observes his wife’s first pregnancy. When their child dies, the couple is shaken by the tragedy but Kanao manages to stand by his wife as she sinks into depression. He calmly guides her towards recovery during this gruelling experience. As they endure, hope slowly unfolds and their love story flickers to life once again.
No ambiente de trabalho, Kanao, responsável pela produção de retratos falados em um tribunal, observa em silêncio os grandes crimes, os escândalos dos anos 90 e a perda de valores da sociedade japonesa. Em casa, ele desfruta das alegrias do casamento e calmamente acompanha a primeira gravidez de sua mulher. Quando a criança morre, o casal fica abalado com a tragédia, mas Kanao precisa dar apoio à esposa para que ela não afunde em depressão. Enquanto eles resistem, o sentimento de esperança aos poucos ressurge, e a história de amor do casal mais uma vez ganha vida.
Born in 1962 in Nagasaki, Japan, Hashiguchi shot his first Super-8 film in high school. His feature debut, The Secret of Last Night(1989), won the grand prize at the Pia Film Festival for new directors. His other award-winning films include A Touch of Fever(1993), Like Grains of Sand(1995) and Hush!(2001), which was an official selection at the Directors’ Fortnight at Cannes. Hashiguchi also works as a screenwriter, novelist, and actor. —asianmediawiki.com
Somewhat disappointing melodrama from Hashiguchi. Loved his "like grains of sand" back in the nineties and had high hopes for this one. The casting of Lily Franky as the artist seems to be underwhelming. Tae Kimura is however very good. At 2 hr 20 min the film is at least a reel too long and seems to be at cross purposes in deciding whether it wants to be a human story or a history of recent court cases. Pass.