Yūsuke is constantly challenged to ask these questions in his professional life. Was she deceitful or was she genuinely loving and caring while seeking out other men? Is it possible to truly love someone while you knowingly betray them? He does not know whether she was going to confess her infidelity to him or not. The eerie serenity of the film’s first moments comes to make sense in their relation to the mystery which shrouds Oto in Yūsuke’s mind. This calamity is just the prologue for Yūsuke’s journey of philosophical growth that makes up most of the film. Oto suffered brain haemorrhaging - there is no potential for conspiracy or a quest for vengeance. They’re not accompanied by dramatic music or suggestive cues, nor hand-holding or mournful screams. Hamaguchi exercises so much restraint in the portrayal of such vital moments. Some time later, Oto asks to speak to him about something, but when he returns home, he finds her collapsed on the floor. Terrified to lose her, he leaves silently without being seen. Despite the loss of a daughter decades ago, the couple appears to be thriving, their relationship weaved strongly by stories, sex, and the intersection of their crafts.īut one day, Yūsuke finds Oto with another man. Oto conceives and orates her stories to Yūsuke during the fervour of sex. Oto is a screenwriter married to a renowned stage actor and director, Yūsuke ( Hidetoshi Nishijima ). And then all at once, without any bells and whistles, the mystery is broken - we see her face, we hear her name, Oto (played by Reika Kirishima ), and we understand that her sly tale is a screenplay she is pitching to her husband.
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