Among the best dialogues I've ever seen. Touching, emotional and very smart. It's the kind of film that you need to be 100% on it but it really worths. All these characters seem real and it's all about life choices.
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PedroPires9027 December 2021
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Director Ryûsuke Hamaguchi made me emotional again. His previous 'Happy Hour' remains the longest movie I've seen. It had 5 hours to hug my approval and persuade me that it wasn't a soapie but real life. This time, the 2-hour 'Wheel of Fortune and Fantasy' anthology sucked me in quicker and deeper.
Themes of failed love, loneliness and regret link three stories with different plots and characters. The first was interesting enough to keep me going but it was the middle and end segments that stung my heart. That was made possible through believably flawed characters and well-constructed dialogue.
There are no special effects, grand stage sets or bright lipsticks here. What is said is of utmost importance, as is the rhythm it finds (which is the combination of good screenwriting and remarkable acting).
In the theory of parallel universes, our infinitive selves have had sex with and married different people, been childless and impregnated many, died young and lived to be a century, been happy and depressed.
I use the above only for emphasis because the "fantasy" in this movie title is grounded in only the "What if?" part.
What if I had loved another and they had loved me? And the unasked, accompanying question is "Would I be happier now?"
I may now be wiser and more convinced of myself but what built me can never be erased. Psychology may shift bricks around, add another floor and paint, but all of who I have been is still here. I know this because 'Wheel of Fortune and Fantasy' unexpectedly touched me.
My older self doesn't indulge in wasteful contemplation but my younger self spent too much time reflecting on what outcomes different choices would have made. I was wonderfully reminded of those painful years. "Wonderful" because a good movie makes me feel.
Now I'm searching for the filmographies of the shining actresses who are unfortunately obscure. Such talent must surely mean there's more sincere emotion to be discovered. -
net_orders24 January 2022A movie that takes relatively minor matters and turns them into engrossing tales about coincidence. Each story (there are three) involves protagonists struggling to achieve something of major importance (at least to the characters). Since the weird English-language film name seems to have come from a parallel universe, short synopsis' would seem to be in order. The first tale involves inadvertent boyfriend recycling between best friends. Next up is a story of student revenge on a university professor. The final offering (perhaps best of breed) is about lesbian relations past and yet to come. Direction and acting are excellent. Director Ryûsuke Hamaguchi also wrote highly original story lines. Opening scenes are particularly clever and well staged. Hamaguchi integrates film and "live theater" elements. The latter involve the use of long scenes (about five minutes or more) to reveal details of what is really going on and to explore what might be emerging. Music is minimal (limited to a piano). Subtitles are brief, but appear reasonably accurate. Closing credits are not translated. Hamaguchi's films are usually poorly lighted and this movie is no exception. Many interior and night scenes are too dark. This is especially the case for the first story which includes a long, plot-critical scene where the principle actresses can be heard but rarely seen in the gloom of a taxi. Lighting issues aside, highly recommended. Viewed at the JICC Virtual Winter Film Fest. WILLIAM FLANIGAN.
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Wheel of Fortune and Fantasy is a Japanese anthology film told as three dialogue-driven vignettes, about an unexpected dating mix-up, a malicious seduction, and a misunderstanding between strangers. The three shorts are not love stories, but rather stories about love in the face of coincidence.
Written and directed by Ryûsuke Hamaguchi, the man behind the currently Oscar-nominated Drive My Car, the film evokes drama out of everyday mundanity.
If you had Wheel of Fortune and Fantasy on mute, you wouldn't see anything visually dramatic happening. There's no violence, chases, or explosions. Hamaguchi delivers three dramatically engaging conversations on film, much like a theatrical play. What the dialogue churns out of its characters is remarkable, ranging from the dark, the perverse, and the deceitful. It covers every color of the emotional spectrum, which I suspect was Hamaguchi's goal.
The film brilliantly steers clear of the trappings of anthology films. The three segments are in a perfect balance with each other and all serve the film's overall theme. There was no best segment out of the three, which is quite impressive.
After seeing Wheel of Fortune and Fantasy, I thought about the everyday quality of life and how often that is forgotten as being dramatic. What the film explores is in a similar artistic area that the HBO show Mare of Easttown was exploring earlier this year.
Every dramatic moment in life tends to be a person in front of you about to reveal something for better or worse. And life just all seems like luck of the draw. This theme washed over me and I recollected similar moments in my own life afterward.
Wheel of Fortune and Fantasy captures its idea with impressive precision and also with a whimsical smile on its face. They don't really make films like this anymore and I'm glad someone brought it back. I look forward to seeing Drive My Car now. -
pasaribuharisfadli4 January 2022With mise-en-scène that strongly resemblance of a stage play, there's an undeniable sort of distance between the viewers and Wheel of Fortune and Fantasy. At least for a while. But then Hamaguchi Ryûsuke was able to break the distance with his direction that felt both intimate and personal. In the end, the film has a lasting impact, even long after the end credit rolls.
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politic198315 October 2021Short film anthologies are pretty much reserved for the festival circuit, and, unless weaved together into a wider narrative structure, their exposure is limited. For Ryusuke Hamaguchi's "Wheel of Fortune and Fantasy", it is largely a companion piece to go alongside his widely fancied "Drive My Car" that it is currently touring with. But, is it more than just an addition to gain him as much exposure as possible in what is becoming his most successful year?
In a trio of unrelated parts, we see stories of chance and opportunity that all backfire on the protagonists, but also result in interesting dialogue between the two opposing characters.
To start, in "Magic (or Something Less Assuring)" Meiko (Kotone Furukawa) chats with friend Tsugumi (Hyunri) in the back of a taxi. Tsugumi discusses her current love interest and her uncertainties about the relationship's future. Listening on, Meiko quickly realises she is discussing her former boyfriend Kazuaki (Ayumu Nakajima): a man with whom her relationship ended badly. Immediately, she confronts him at his office late at night in a heated debate, but the result is not to ward him off Tsugumi, but give the couple her endorsement.
Secondly in "Door Wide Open", after reading the sexually-charged Akutagawa Prize-winning work by Segawa (Kiyohiko Shibukawa), students Nao (Katsuki Mori) and Sasaki (Shouma Kai) plot to blackmail the lecturer when Nao goes to his office to discuss the text. Trying to get privacy, Nao attempts to record their discussion, but Segawa insists his office door is left open while discussing the inspiration for his novel. Nao is taken-aback as she reads from the text, which Segawa enjoys, as she is given something of an education on literature.
To finish, Moka (Fusako Urabe) sees Nana (Aoba Kawai) passing on the escalator outside Sendai train station. Immediately reacting, Moka races to who she believes is her former classmate, with Nana reacting in-kind. Inviting Moka back to her family home, Nana discusses her school days with Moka and how they were never that close. So distant in fact, that as discussions progress, they realise it is a case of mistaken identity; Nana simply going along with Moka's enthusiasm.
For a film which is essentially two-way dialogues throughout, you need a strong script, and Hamaguchi certainly does a good job of writing dialogue which sees the story turned on its head in terms of expectations. Coupled with the actors being given the script to dry run with each other, only delivering any expression 'on the night,' as it were, the emotional changes are cleverly drawn out, almost revelatory.
Interestingly, Hamaguchi starts us off with the most challenging scenario of a love triangle. At times, the debate between Meiko and Kazuaki is irritating as Meiko seemingly confronts him to inform him she doesn't want anything to do with him anymore. But, as is the way with difficult love stories, the discussion is far from easy, and as the talks progress, the pair become more and more on each other's side. However, to start, this isn't an easy entry point for the audience, making it a bold introduction.
"Door Wide Open" is the most comedic of the trio, as the young upstart gets their comeuppance. The sexual nature of Segawa's text will provide some smiles, but the parting shot of Nao's request of Segawa is hilarious in its absurdity. Shibukawa as Segawa is fully deadpan, barely showing a blink of emotion throughout the discussion, almost as if he's toying with the student. This makes his agreement to her request all the more hilarious.
"Once Again" also has a humorous end, but is more a lament on memories of school and growing older. To close, it is the lightest of the three shorts and a more obvious starting point. But, as is the way with each of the dialogues, Hamaguchi turns it on its head, giving us lighter relief as we go on.
With the relative twist offered at the end of "Magic", the style and gimmick of the trio see Hamaguchi do his best impression of Hong Sang-soo, and by definition Eric Rohmer, with his extended and awkward, yet realistic, dialogue between two characters in an unusual situation. This, therefore, can't be considered a completely original work, but one well-constructed and executed.
If this is merely to act as a companion piece to "Drive My Car" to get him greater plaudits at festivals - and points make prizes - then it certainly achieves its aim, but it can certainly go the distance alone.
Politic1983.home.blog. -
tedempsey-8074121 January 2022Bookended by fantastic pieces,I would have rated a little lower, but the third act is marvelous. TBH the second story is good but way overshadowed by the other two. What a great treatment of what it means to "love."
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evanston_dad1 April 2022This was my second Hamaguchi film of the year (the other being "Drive My Car"), and I'm starting to think I just don't vibe with his style.
To be fair to this movie, I'm not a fan of anthology films, so it was my choice to watch one. And I also watched it assuming that it would be similar in style to "Drive My Car" (it is) and knowing that I wasn't in the mood for a movie like that (it was due back to the library the next day so I felt forced to watch it).
I just get very restless watching Hamaguchi films. They're static and feel very long. Perhaps my favorite movie of 2021 was "Mass," a film that's mostly four characters talking in a single setting for two hours, so it's not like I'm resistant to the kinds of movies Hamaguchi makes. They just don't speak to me for some vague reason, even as I can see that they're objectively very good movies.
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sps-7065924 April 2022Clearly, this movie polarises viewers. For me, way better than same director's Drive My Car. As good as Burning, American Honey, Stuff and Dough, or Our Time, a few of my benchmarks for 21st century cinema.
The original Japanese title, which translates as Coincidence and Imagination, is much more apt than the clunky English title.
To illustrate his theme, the director writes the most utterly brilliant dialogue, which is sort of like 3D scrabble on steroids.
For all of that, it still needs the wonderful third reel, where the coincidences coalesce into genuine insight and wisdom, of the sort that can reduce you to sudden tears in a darkened cinema.
Hamaguchi-san, you are an ornament, go to the top of the class. I reckon the old masterful deceiver, Bunuel, will be smiling down upon you. -
athanasiosze27 March 2022The beauty of this movie lies in its simplicity and class. This is a classy movie with elegant characters, inspired by French cinema: Actors keep talking like there is no tomorrow. If you enjoy dialogue driven drama movies with some offbeat-comedy elements, you will enjoy it.
There are a few minor twists here and there but this is not a thrilling or exciting movie. Not groundbreaking or some kind of masterpiece either.
7.4/10. A very good movie for this genre. -
Like his later Drive My Car, Ryusuke Hamaguchi's Wheel of Fortune and Fantasy ripples with emotional insights centered on a feminine sensibility. The film presents three Hamaguchi short stories about lost love and the yearning to recapture a past. The boyish women at the center of the two framing stories anticipate the Drive film's mute and driver.
Again an intimacy develops in a close car. "Magic or Something Less Assuring" grows out of two women's increasingly intimate conversation in a taxi. The beautiful Tsugami confides in the boyish Meiko her new ardor for a stranger, Kazuaki. Realizing Kazuaki is her own ex-lover, Meiko confronts him in his office at night, whether to win him back or to torment him. The episode has two endings, providing alternative responses by Meiko. The "Magic" refers to Tsugami's experience with the man; the "something less assuring" to Meiko's ambiguous intervention.
Initially Meiko is a model performing in a fashion shoot. At the end she shoots a photo of an urban construction scene, machines reaching above the foliage. That movement suggests the character's tension over her own agency.
In "Door Wide Open" a woebegone elderly writer/professor Segawa is visited by a beautiful ex-student, the married mother, Nao. Her young lover coerces her into luring Sagawa into "a honey trap" to avenge the professor's thwarting of the young man's career.
The title echoes the professor's care to avoid a compromising situation. In the event, however, the professor is seduced by his own words when the woman reads to him an erotic passage from his Akatagawa Prize fiction. (The allusion is to the celebrated Ryunusuke Akatagawa, two of whose short stories Kurosawa turned into the classic Rashomon.) The seduction attempt backfires when the woman is herself deeply moved by the professor's succumbing to her voice. They restrict their romance to agreeing to share the recording of the passage, with a mutual promise of a remote erotic connection through it.
But a misdirected email ends the professor's career and the woman's marriage. A chance meeting at the end suggests her avenging reunion with the young lover who initiated her visit. However carefully we leave our doors open, our impulses may still rule.
In "Once Again" two women passing on an escalator mistake each other for intriguing characters from their high school past. Despite their errors they find a spark in each other. Each assumes the role the other hoped to meet, enabling their respective reconciliations and forming a close emotional bond in the process.
All three stories show women negotiating their compelling drives through conventional strictures. They confirm Hamaguchi's mastery of nuance in character revelation. -
Pjtaylor-96-13804420 June 2023'Wheel Of Fortune And Fantasy (2021)' is a triptych of entirely independent short stories loosely connected by their shared themes of fate and finding truth through purposely affected false pretences. Told primarily via dialogue with very little formalistic flair, the three stories vary in quality but are consistently grounded and character-driven. They're all very play-like in their execution and construction, with their various reveals and thematic elements being contained entirely within the conversations that act as their beating heart. This is, of course, is to be expected from writer-director Ryûsuke Hamaguchi, whose other recent effort, 'Drive My Car (2021)', was similar in terms of its - for lack of a better term - talky nature. The difference is that Hamaguchi plays around with structure in that piece and uses both its more prominent theming and its intimidating length to craft genuinely affecting character interactions as it approaches its finale. Here, he doesn't have time to really do what he does best - that being slow-burning, character-building drama - or, at the very least, he doesn't get to do it to the best of his abilities. The format simply doesn't allow for the same kind of development. That's not to imply that this effort is entirely unsuccessful. It's relatively engaging throughout and its stories progress fairly unexpectedly without feeling as though they're being subversive for the sake of it. The naturalistic acting enhances the cleanly grounded atmosphere, with the players disappearing into their roles to the point that it's sometimes easy to forget they're performing at all. There are some really long takes in here, too, which subtly showcase the technical prowess of all involved - both in front of and behind the camera. Ultimately, it is a little underwhelming, though. It doesn't grip you all that tightly and the pacing of all three shorts is fairly loose, leading to a bit of a meandering vibe that doesn't do the piece any favours. It's never boring, but it's never exciting or emotionally moving, either. It is interesting on occasion and it's undeniably a well-made affair, but it never rises beyond being just good (if that makes sense). Still, it's a solid effort overall.
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gio_malv3 October 2021There are three stories, basically three dialogues and in the first two stories the topics of discussion are also trivial if not boring: the first dialogue deals with emotional misunderstandings between young couples, the second is the story of a masturbation of no interest.
The third story, albeit unlikely, is the most interesting: a young woman lived an intense love affair with a high school friend and regrets not being able to express the importance and greatness of her love to her partner when she left her to get married. This story makes us understand how in today's world great importance is given to material well-being and economic conditions and, on the contrary, so little importance is given to our deepest feelings and passions. And so one of the questions the girl asks the other woman is: "Are you happy? Is this the life you dreamed of when you grew up?"
The director, Hamaguchi, defines himself as a "narrator" but the director of a film has many means and tools at his disposal to tell a story and to involve the viewer: the description of the unfolding of the narrative, the dialogues, the photography, the sounds, the music, the charisma of the actors, acting skills, etc., while this film is mainly based on dialogue and above all it lacks the emotional involvement of the viewer. -
markwood27225 April 2022Three stories:
The plot ingredients of the first - the problem of exes - material for a good farce or romantic comedy, but the segment here is complex, serious, hurt feelings instead of laughs. In other words, director Hamaguchi and actors treat the topic realistically. The second tale reminded me of the few pages of Murasaki I once managed to get through. And it is dark. The last story, my favorite, could have been inspired by F. Scott Fitzgerald's "Three Hours Between Planes" (1941), only here the tale is more complex, the characters' emotional intensity heightened.
For all three I had to remind myself that I was watching actors performing scripted roles. Just about every moment is believable. That credibility, combined with the demands of relating to the emotions presented on screen, make this a kind of "action" movie. In place of explosions and crashes, we get a strong, unadulterated presentation of the real lives of ordinary, flawed human beings, potentially the most frightening subject matter that can be put on a screen.
This is cinema's equivalent of the dry martini, strong and unadorned. Maybe not for everyone, but certainly deserves more of an audience.
To explain my vote a little: I knew nothing about Ryusuke Hamaguchi until I decided to see at least one 2021 Oscar-nominated movie and happened to choose "Drive My Car" at random. The experience sent me to this work, also released in 2021. Since seeing "Wheel of Fortune and Fantasy" I have seen "Asako I & II" (2018) and most recently, "Happy Hour" (2015). All told I think I have seen over twelve hours of movies from this director.
Time well spent. -
j_movie25 August 2021I don't like "day and night" very much, but I unexpectedly like it. Watching the film will really change with the passage of time, the change of place and the growth of mentality. Lightness and relaxation are the most intuitive feelings brought to the audience. Although the choice of each character may change the fate, after the reversal of lifting heavy as light, there is only relief and aftertaste left. I like the third story best. It is the most coincidental and untrue, but it indicates rebirth and hope, which may also be the biggest charm of Hamaguchi film.
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actress_tw29 September 2021Speechlessness is deeply felt through the delicate dialogues and shrewd yet effortless twists that the director builds up. Of the three short films, I love Once Again the best. This third episode sparks up a ray of hope for we audience as well as for the middle-age characters who once were teenage girls exchanging hand-written letters to one another, during a time of some unknown computer-virus pandemic. It's a contrast to Covid-19, but the element used here in the context has an even bigger and more profound meaning.
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tccandler15 January 2022Hamaguchi Ryusuke also directed one of the best films of 2021 with "Drive My Car". In this cinematic triptych, he explores the nature of fidelity, memory and complex relationships. The first of the three pieces is riveting conversation and I loved it. The other two are nice, but perhaps a little too distant to be fully grasped. As with all of his films, the performances are key, as his stoic camera observes quietly.
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johnpmoseley25 October 2023I watched this on a friend's Mubi account - the day before it was leaving the streaming service. So glad I caught it. Unlike most Mubi fare, this is a film with so much to say and so much to narratively engage the viewer. It's little short of miraculous that it does it with such limited and economic means, the stories unfolding in simple shots and long dialogues that perfectly pay out the key information to lead us to delicious ironies, fascinating interactions and the deepest of feeling. Not only that, but it does it three times in three separate stories, proving beyond doubt that the neglected art of the short film, done right, can be as or more powerful than the feature.
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(Apologies in advance for spending most of this review comparing the film to Drive My Car... I couldn't help it 😔)
The less well-known (but still quite good) 2021 film by Ryusuke Hamaguchi. I understand why Drive My Car has made more of an impact, and overall I enjoyed it more. But this is a different sort of movie and it's interesting to compare and contrast the two.
Apparently Drive My Car blended several short stories, but did it in a way where (to me at least) it felt like one coherent three-hour film. Wheel of Fortune and Fantasy tells three short stories as three short films, each approximately 40 minutes long. Because of this, I'd say it lacked the almost hypnotic effect that Drive My Car had, where it sucks you in and becomes absorbing the longer it goes on.
One other interesting difference: it doesn't make the movie better or worse, but I found it interesting how in Drive My Car, the lead characters keep their emotions held in, whereas in Wheel of Fortune and Fantasy, characters are surprisingly open. Even when they hide the truth, it doesn't take long for them to reveal it (maybe besides the third story, which emotionally feels the most similar to Drive My Car).
This film isn't as beautiful as Drive My Car. Some of it looks a little rough and flat to be honest, but maybe the minimalist style was intentional, and to be fair, there are a few visually arresting shots throughout that really stand out.
The stories themselves are interesting, and the dialogue mostly engaging. Acting is good across the board too, and overall, while it's not always consistently absorbing, I enjoyed it for the most part, and much of it is undeniably well-made.
2021 was a good year for Hamaguchi, and I'm interested to see what he directs next. -
Having just watched director Ryusuke Hamaguchi's Wheel of Fortune and Fantasy, it feels like I watched someone masterfully demonstrate the beauty in the weaknesses of being human. An anthology consisting of three vignettes, each story as carried through a form of one unifying conversation, is a testament to storytelling at its most simplest and its most effective.
It's a movie that is beautiful to look at, beautiful to understand and beautiful to recollect. And I'm certain this movie will stick with me for a long, long time. I cannot recommend this movie enough to anybody as I truly believe it can add value to how one already sees the world. -
"Wheel of fortune and fantasy" was relaesed in Dutch arthouses only after the big success of "Drive my car" (2021, Ryusuke Hamaguchi).
The same happened with for example "Red Sorghum" (1988, Zhang Yimou) after the successes of his later films "Ju Dou" (1990) and "Raise the red lantern" (1991). In cases like this the question is, is the film really good or is it an attempt to piggyback on a later success? In the case of Hamaguchi this question is all the more understandable because of the short period of time between the two films. Did he really make two masterpieces in one year?
When writing this review, I have seen "Wheels of fortune and fantasy" but not "Drive my car". My conclusion can therefore be only provisional. This conclusion is that "Wheels of fortune and fantasy" is a good film, but in my opinion not of the quality of an Oscar winner ("Drive my car" won the Oscar for best foreign language movie).
"Wheel of fortune and fantasy" is a film consisting of three episodes. All episodes are about love and or sex. The lead characters in all episodes are women. In one episode the male character remarks that in the relationship he is nothing more than a dildo. Luckily this is exaggerated, but the center of gravity of the film lies undeniably with the female characters.
The title of the film is well chosen. No "normal" relationships in this film, but unexpected twists and turns in all episodes ("wheel of fortune"). In NOT chronological order the twists and turns center on attempted blackmail, love triangle and mistaken identity.
More important is that the film is not about action but about fantasy. And thus also about dialogue and monologue. While the film is about love and sex, nude scenes are almost completely absent. This is most prominently illustrated in the second episode. In my opinion the best scene was however the beginning of the first episode, in which two female friends discuss the new boyfriend of one of them during a taxi ride. Increasingly excited, they discuss the possibility of an erotic ending of the next encounter. -
bfgbigfriendlygreg28 July 2022I read the good reviews but it was really quite boring. And so I was dissapointed. I was hoping to see romance develop in the story. But it was quite bland unfortunately.
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"Wheel of fantasy also presents itself in the other two stories, in "Door Wide Open", sexual tension/seduction is fantasized nearly to a boiling point through Nao's intonation-like reading out loud an erotic passage of Segawa's awarding-winning new novel, and the professor's incorruptible respectability, who always leaves the door of his office wide open, prompts Nao to open up about her weakness as a young married woman who finds it hard to resist temptation. Something painfully honest and instructive crystallizes out of this unusual conversation, only to be crushed by a fateful typo, and eventually a chance meeting prompts Nao to exact her revenge to the remorseless abetter Sasaki (Kai). Mori transcendently calibrates Nao's heterogeneous phenotype evinced from interiority meanwhile Shibukawa inhabits Segawa's reserved propriety so firmly that the after-effect of their two-handler resonates with a strange mix of thrill and Weltschmerz."
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yusufpiskin24 September 2023A 2023 Japanese drama film written and directed by Ryusuke Hamaguchi.
The film was selected to compete for the Golden Lion at the 80th Venice International Film Festival, winning the Grand Jury Prize and the FIPRESCI Prize from the International Federation of Film Critics.
And from then on, he became the center of small but influential discussions.
Verity wrote about this film, "While Ryusuke Hamaguchi was running from award to award, he could not find a theater to show his films, but this film was sold all over the world before it was even watched."
So the man broke the mathematics of the big movie companies.
So much so that, according to Verity, Mars Entertainment in Turkey bought this film before it was even shown in Venice.
But the same Mars group showed the movie Drive My Car for a day or two in a hall where no one was supposed to go.
The magazine cited Nuri Bilge Ceylan's film Kuru Otlar Üste as an example on the same subject and said, "The two directors are on the radar of big companies."
As for the movie, Hamaguchi breaks the mold this time.
Every element that makes the movie whole is different from Doraibu Mai Ka and Guzen To Sozo.
I think the biggest reason for this is that it removes the Haruki Murakami influence from its center.
Hamaguchi, who was trying to make a 30-minute short film for the new work of his composer friend Eiko Ishibashi, said "I can make a movie out of this" and created the script for this movie. (He also made a 30-minute silent film called 'GIFT' for that music, and that film will be screened at the Gent Film Festival in Belgium in October 2023.)
Hamaguchi, whose subjects we are familiar with focuses on individuals' lack of communication, this time also includes Devil's Corp. It added its effect.
The film is once again a visual feast, and the script is once again like a puzzle, so much so that, after Venice, some cinema writers wrote articles such as "Do festivals give awards to films they do not understand to appear intelligent?"
Mars cinemas will probably screen the movie in a few theaters around the corner, and we will watch the cleanest copy on Mubi or Netflix (since Mars is a group).
If you like Ryusuke Hamaguchi, be sure to watch this movie.