Double choice. The unsuccessful man allowed himself more than he could afford, getting a poor mistress, not refusing to feed him the earnings of a working, but childless wife, happy with the imminent birth of his first child, and then two more children left in the arms of an unemployed woman languishing in anticipation of cash transfers.
Exhaust patience exploded with an outburst of anger, fleeting gatherings and a raid on the lair of a deceiver who led by the noses of both, now not knowing how to settle an open conflict: no money – no babysitters and, thrown from their hands, the children were on the floor of an unknown house, looking out, the trail of an escaped mother, frozen before they had time to blink.
The women's drama is clenched in a fist here - a mother's infidelity hangs with an unanswered question about how she dared and how she could. Vain searches, useless questions, hastily collected things and last orders to neighbors who have nothing to tell.
The director’s gaze is aimed at a man who dreamed of becoming a father and finally got all three, having no chance to evade the choice: to be the father of his children or the husband of an angry wife, fueling his doubts about the origin of babies, causing him to hesitate between fear for himself and responsibility for children, between business insolvency and personal weakness, unable to protect their children.
The anger of the deceived wife is understandable and understandable, as well as her irresistible desire, to get rid of the pain and sorrow brought by foundlings by all means. But this anger becomes a test of fatherhood, which was wanted and received by her bad husband, who received three attempts to decide whether to take the other side or stay on this side, together or separately with anger and love, not noticing that he is not alone in choosing this.
One-year-old crumbs can not ask, and the three-year-old daughter is still not herself - the entire burden on the shoulders of the older six-year-old, who unraveled all their bitter, hopeless alignment, together with the director leading his short countdown: three, two, one, hoping to reach out and have time to stop the tragedy, remaining its hostage and, at the same time, the creator.
Father and son are designed by equal sides, no matter how different the scale of their performers: the inconceivably plastic, rushing in fear Ken Ogata and alienated frozen, sedentary Hiroki Iwase, put by the director’s hands in a rigid frame, persistently blowing into the same suffering duda.
In his film, based on the novel of the famous “forensic” Seite Matsumoto, Yoshitaro Nomura evaded the large-scale development of history, choosing a single nerve to influence, irritating which, he achieves the highest moral tension of the situation, aggravating it with pinpoint blows, lining up intricate criminal-psychological plot, cutting off strangers for the time being, who, appearing in the end, remain only witnesses to the last word, replacing a long death.