An aging actor, Jean-Pierre Léaud, is preparing to shoot a death scene. But the shooting comes to a halt which leads him away, into an abandoned house where he finds himself visited by the spirit of a dead lover.
Aki who works at a design company, and Tetsuro who is a restaurant owner, have been living together for several years. They respect each other’s independence, and have a generally carefree relationship. One morning Tetsuro receives a phone call from Shun, his 8-year-old son. Tetsuro’s ex-wife has been hospitalised with a broken leg following an automobile accident. Tetsuro brings his son to the home he shares with Aki. Aki is, at first, furious that she was not consulted before Shun arrived on her doorstep. Later, she accepts the task of caring for the boy. The new living arrangement brings unexpected stress. Aki must now handle many new chores in the house; while balancing numerous responsibilities at work. It all begins to wear on her nerves. Shun becomes homesick and runs away to his mother’s apartment. Aki begins to look for a new place to live, on her own, as she fears she will break down if she doesn’t get away.
H STORY playfully blurs the line between drama and documentary as it examines the impact of history (both world history and cinema history) on contemporary lives. Suwa plays himself as a filmmaker struggling to remake Alain Resnais’ classic Hiroshima Mon Amour. He’s hired Béatrice Dalle and Hiroaki Umano to play the parts originally played by Emanuélle Riva and Eji Okada. I integrated Resnais’ film in my film not because I liked it, but because I couldn’t avoid it. I consider it as medium with which I could maintain a dialogue with. Resnais’ film opened a window to Europe over Asia. I also wanted to open that very same window, but in the other direction. (Nobuhiro Suwa)
Korean actress KIM receives a letter from Japanese director SUWA, who says he wants to work with her in Hiroshima. However, when she arrives there, no one knows where SUWA is.
It’s a drama where passion, altruism, crime and hidden racism are intrinsically intertwined. The gliding perception of the main character is captured in the jarring but playful compositions and elaborate dialogue that turns the apparent kitchen sink realism into existential psycho-sink.
After several years spent abroad, Nicolas and Marie return to France to attend the wedding of an old friend. Although the couple is in a crisis they are on the verge of divorce they still go to the ceremony together. Upon arrival, they immediately announc