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The director adopts a complex narrative structure embracing 4 spatial and temporal dimensions: (1) the present; (2) the past from the perspective of Aio Takumi; (3) the past from the perspective of Mio; and (4) the flash-forward (from the past) from Mio's point of view. It is from the last dimension (i.e., the flash-forward) that story progression moves into the disequilibrium and a mystery is built. This spatial dimension of Mio's experience (as initiated by her intrinsic meditation during her coma) in narrative orientation becomes the overriding plot in the film, embedding the other 2 dimensions of Takumi's and Mio's respective perspectives of the past, creating a layered and proliferated narrative. Although this non-linearity adds artistic value to the artifice and enhances the readability of the film, its cumulative effect is noticeable only at the end of the film when the truth is revealed. The audience is fed with the key information in the denouement under fast cutting. In fact, the film casts suspense upon romance and hence it is under a mutated mix of genres of romance and mystery (with the former being dominant).

The director adopts a story telling mode with the use of voice-overs from the 2 key characters. The film is slow paced at the beginning but very fast paced at the epilogue. There is an intensive use of visual and vocal motifs. The most notable visual motifs are the sunshine dolls, the arch in the countryside and the wooden door with the mark "#5". The story is not as touching as "Quill" or "The Classic". The staging of the 2 adult characters is not outstanding. The cute child stages good instead.

註：本評論純屬影評作者個人意見，並不代表本網立場。
Note: This views presented in this review is solely the views of the critic who wrote it and do not represent the stance of our website.

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