It depicts the lives of a man and a woman who love flowers and grasses blooming on the roadside while suffering from life, and who live in small ways with tenderness and intensity.

Accompanied by his friend Miyata, Sano returns to Izu, a seaside resort in Japan where five years before he fell in love with his wife Nagi.

改装される予定の祖母の家に来た姉妹、聡美と郁美。妹の郁美は妊娠し、シングルマザーになる決意をしていた。2人は家に残された物を片付け始めるが、昔遊んだおもちゃ箱を見つけ、こどもの頃のように遊び始める。しかし、お腹の子どもをめぐってお互いの溝が露わになり、2人は家の中ですれ違い、会えなくなってしまう。嵐の夜の中、姉妹は暗闇の中でお互いを呼び合うのだった。

Aki and Naoko are childhood friends who are drifting apart as adults. Immersed in her family life, Naoko now has a husband and daughter; Aki, on the other hand, remains single and is on leave from work due to a personal crisis. The plot might sound familiar but it has never been told like this. The director Kusano Natsuka stages the interactions through an actors’ table-read and, as the lines are repeated, the scenes gradually develop into on-location conversations. Moreover, she repositions the dramatic peak of the story to the beginning: Aki has murdered Naoko’s daughter. Structurally inventive, Kusano's daring cinema implements ‘distantiation’ effects to get to the heart of friendship issues at times when life has settled. While the repetitions convey the suffocation of role patterns in both friendship and family, a line left out or added in unsettles and reminds us life can take unexpected turns.