Noboru Ogawa

Saeki works with death-row convicts as a prison chaplain. He tries to instill the prisoners with a sense of morality and help them become a better person. He is a good communicator with the death-row convicts assigned to solitary cells. Saeki agonizes over whether his words really touches the prisoners and whether he is doing the right thing. Saeki also faces his past which he wants to forget. --asianwiki

A coming-of-age road movie that sometimes humorously and sometimes seriously depicts two men's journey to their hometown in a provincial city.

Two men have driven to the seaside. As darkness falls, they decide to head back to where they parked the car, but when they arrive, the car is nowhere to be seen. They search their pockets, only to find they don’t even have the car keys. Did they really park there? Was there even a car to begin with? With their scattered memories and wavering attention—nothing is clear—the men wander aimlessly, searching for the car. In the night-time streets, where people—just like the two men—wander about like ghosts, their purposes and motives equally unclear, the audience is gradually drawn into the blurred boundary between what ‘is’ and what ‘is not’.

A man who found a gun on the beach. He went to a friend’s house to seek advice, but for some reason, his friend wouldn’t take him seriously. ‘I suppose I’ll just have a bite to eat,’ he thought, letting his guard down—and at that very moment, a gunshot rang out and a body fell to the ground. Wherever the man went, gunshots rang out, bodies fell, and the number of figures inserted kept increasing. But at one point, as if he’d miscounted, the numbers skipped a beat, and the roles of the body and the person who found it were reversed. At the end of this repetition of the same gunshot, the cause transformed into the consequence, and the consequence into the cause.