Asuka Sakura (Yuki Uchida) has in fact been taken to a psych ward after having overdosed two days ago on the suicide cocktail of choice; alcohol and sedatives, and is only pulled out of this dream world after receiving a text message from her roommate/boyfriend. I say roommate/boyfriend because the relationship she has with Tetsuo Yakihata (Kankuro Kudo) is one that is never firmly established in its nature. This isn’t surprising given the carefree and irresponsible traits that they both possess. Anyway, after being pulled out of the meeting she thinks she’s in, and back to reality, Asuka finds herself being pushed along on an emergency hospital bed of which she is strapped to and breathing through an oxygen mask. Various close-ups and acute angles show the bewildered look on her face as she takes in the cold, white walls that surround her and the blinding light that is shining down from the ceiling.

The head nurse of the ward is called Eguchi and I would describe her as being a cross-breed of Mrs Danvers, Miss. Hardbroom and Nurse Ratchet. The way she slides the window across her reception counter whilst giving out a stern look of disapproval immediately reminded me of Ratchet’s identical action when refusing the requests of R.P. McMurphy in One Flew Over the Cuckoo's Nest. Eguchi is very curt with her new patient and certainly a stickler for protocol but is never really given enough screen time to make that much of an impression on the viewer. The nurse that appears to be Eguchi’s assistant is Yamagishi and her temperament is the typical, humble, overtly polite and gracious sort; cut with a wide smile and a voice as gentile as a sakura blossom.
The film has great flashes of absolute hilarity when you least expect it as a casual situation will suddenly be interrupted by an unusual or clumsy occurrence. Tetsuo, a man who comes across as half geek and half awkward stoner revolutionaire, is a good provider of some of such truly inspiring comic moments. After arriving to visit Asuka, he begins to recount to her the story of how she came to be where she is via flashback and voice-over. This allows for some pretty humours anecdotes and close calls that make up the lives of these two misfits. His job is that of a television writer, though as you’ll see it is his bottom and not his brain that he uses as his greatest asset.
I have already mentioned the use of flashbacks, though it cannot go unknown that they take a vital form in this film (especially as we get to see Shinya Tsukamoto in a cameo, performing a party trick that has the most hazardous of consequences). It is through the flashbacks in the film that we get to know the real Asuka as once she has been admitted to the ward, for the most part she is meek, helpful and considerate, which is not the real her at all. In fact it seems that the process of getting to know her through flashbacks happens in coordination with her gradual outbursts of anger in the ward. Just as the viewer is carried along smoothly by the narrative of the present, they are jerked back into a personal history lesson of Asuka who we discover is not only a slob of the biggest proportions, but also an alcoholic, parentally rejected, selfish liability. Being around such damaged people as she is forced to be certainly has a positive affect on her while she is there, but this doesn’t last as unfortunately a callous ending shows the empty shell she really is and that any positive lessons and emotions she may have learnt during her stay were only temporary.
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