Story of a delivery man who is set up by some unknown people to take the blame for the killing of the prime minister of Japan. Things go cockeyed when he manages to get away and is chased across the city and helped by friends, family and a serial killer.

Rambling looping story thats spins out its story then begins to cross back on it self is very much in the style of the directors earlier films such as a Fish Story and A Foreign Duck, A Domestic Duck and God in a Coin Locker. Knowing that the film all interconnects and that the time frame is fragmented takes a bit of the wonder out of the film because knowing the style allows you to piece whats happening together.

Don't get me wrong I like the film, but the people I spoke with after the screening at the NYAFF who hadn't seen any of the directors earlier films were rapturous because they had never seen anything like it. How well you know what the director does will make the film go from good to great depending.

Very much worth a look.

Aoyagi (Masato Sakai) is mistaken for a murderer and on the run from the cops. At first glance one would think it to be a simple suspense film, but that's not the case. Each character has a deeper motive. Carefree, open-hearted, soft-spoken, each character seems to have some sort of reliance and trust in Aoyagi.A married couple with child get into an elevator, standing alongside a suspicious hooded man. The elevator descends, and a long take follows them as they walk through the department store. Suddenly, the child disappears. In this moment the film has us nervously thinking, "Something bad must have happened."

With this powerful moment I'd recommend the film. Every scene in the film feels like a pure cinematic experience: when the company owner says to Aoyagi, "i know You aren't the criminal;" when we cut to the scenery outside the car in motion; when the child of the wanted criminal dies. Even normal scenes were certainly shot with meaning. The cooperation of Sendai City during the filming has a positive effect on the movie's quality. Extras who appear in the film for just a few seconds stand with consideration for their own significance, in turn blessed by a splendid film.

As soundly escapist entertainment, it's a shame the film hasn't been screened overseas since its debut in 2010.

This kind of amusing film is an example for what Japanese cinema is all about.