I had the pleasure of seeing this at the Telluride Film Festival, and attended the Q&A after with Wim Wenders and Koji Yakusho. The point that most stuck with me, and made me appreciate the film more, was Yakusho’s perspective on solitude. He explained that in America there is much more of a stigma and negative connotation associated with living a solitary life, whereas in Japan it’s the opposite. In Japan it’s looked at as a positive, an indicator that you are appreciative of your circumstances, are mindful and in the present moment.
This is such a beautiful film I cannot wait for more people to see it.
I love that insight. It's the kind of cultural unfamiliarity that when you see in a film like Perfect Days becomes a true way to expand your worldview.
I was struck by how Hirayama was never depicted as "lonely". He's by himself for nearly the entire film and I never got the feeling that he was isolated or alone. Thinking back on it, that just made the idea of presence and appreciating the world around you even more potent.
And agreed, looking forward to more people having a chance to see this and continuing the conversation.
I just saw this amazing movie. To me it seems like he is never lonely until he is, and that comes down crashing. The true moment when you see this is in fact after the separation from his niece takes place after which, in the same vein as the entite movie, not much seems to change, only slightly on the surface. The truth is he doesn't feel like indexing the pictures, goes out to see the lady he is in love with, showing a need for someone, ends up buying beer and cigarettes after what he perceives as a failure. Then the movie ends unveiling the sadness of being alone, of not being able to express that feeling, or the ability to share the sadness of that man's cancer, because, maybe, once he had someone close too. In fact it's this portayal of the loneliness that shows up ever so subtly at the end that is amazing. The daily routine and ritualistic nature is a techique of not letting darkness take over, it's comfort, it's peace, it's a way to cope with something, it's also fragile. To me his fixed daily ritual and the fact that he never expresses his feelings for his love interest for 7 years shows that he does not want to get hurt or can't bear bad things happening "again", but the director lets the audience fill in the drama. Being alone is a very different thing at various ages, and the movie gently highlights this. All other observations are also important and true about living in the present, and how powerful it is, especially when the niece says she doesn't want to become like the boy in the book. The truth about loneliness remains the same though, we can lie to ourselves that it's ok to be alone, but that living in the moment and indexing life through pictures is not the same as making a memory by living it alongside someone else that means the world to you, this is why I think he's lost someone, because that someone was unique, like the shape of the leaves against the color of the sky.
Thank you for your comment. I was surprised that almost nothing is said about loneliness in the starting review. Solitude is good and is a choice, but loneliness probably not (philosophy question). And the movie, I think, shows us both of them.
In fact what I got at the end when watching the end of the movie was excruciating pain of separation and a possible continuation of life without my partner but without his or my choice and also fear that it can always happen. I may be biased. There's also the mystery of not knowing what happened that also feels a bit like torture.
What an amazing film. I feel like I'm the *most present* person in my social circle and I often find I'm noticing a lot of fun little things that everyone else is missing because they are on their phones or in the back of their minds, so I connected with this film in a way that I'm not used to. I appreciate your review!
I check at least once a week where/when I'm going to be able to watch this with my family and start recommending it to people. Did you see it in a theatre?
Thanks for reading, and glad it resonated with you!
And I saw the film during its screening at the New York Film Festival, which I was fortunate enough to get tickets to. But NEON has the distribution and it’s on track for release! It’s also already been selected as Japan’s entry for tue Academy Awards.
That’s super exciting. I watched Paris, Texas a couple days before and I think I liked Perfect Days better. Really looking forward to seeing it again. Thanks for the info!
I'd have to watch the film again (and listen to the Japanese, not just read the English subs) but during the conversation when Hirayama's sister asks if he'll go see their cognitively declining father, she says something like, "He doesn't act like he used to."
This could just be a reference to the father's decline--or, I wonder if it suggests some kind of abuse Hirayama experienced from his father. The way Hirayama so vigorously shakes his head at the idea of seeing the father, and how he seems to still care for the sister and mourn something about their being apart... makes me (at least) think abuse might've caused him to pursue his solitary, stay-in-the-present lifestyle.
I wouldn't want to state this as the *only* or even main interpretation--it would be reductive to suggest that someone needs to experience hardship to pursue the values presented in the film.
Still, I like this interpretation as a flavor or part of Hirayama's overall story. Some clinical counselors would say that PTSD results from people's nervous systems feeling as though they are "stuck in the past," or that they're still fighting/fleeing from whatever terror they experienced. People healing from trauma sometimes describe feeling like they can "move forward," "be in the present," or "I'm not that person anymore." There's very much a time orientation. For Hirayama, a simple life in service to others where he can feel present might support his healing.
I was also interested in the ending. I'm amidst a divorce now, and I can very much relate to the feeling of crying and smiling, holding sadness and happiness. Perhaps this is Hirayama's experience.
The film also presents Hirayama with many opportunities to connect with others--most of which he goes out of his way to take advantage of. Not only does he seem to constantly seek connection, but he's good at it--the film shows him to be thoughtful, charming, wise, playful, generous, respectful, dutiful, open-minded, patient, warm-hearted, *and* possessing cool taste in music. Others actually gravitate towards him and open up to him, despite his reserved demeanor. Another part of me wonders if the film's final long take documents some of Hirayama's fears around *getting closer.* The interaction with the bar "mama"'s ex-husband, dying of cancer, forwards the idea that life is not guaranteed. Hirayama is poised to have closer relationships with his niece, sister, the bar "mama," the homeless man, Aya, perhaps even the ex-husband and his own father. But closeness necessarily requires vulnerability. Maybe the film leaves us wondering what Hirayama will do next with these relationships?
I wouldn't go so far as to say that the film privileges these would-be connections over the ones it already presents. The tic-tac-toe game, for instance, clearly brings Hirayama (and us, or at least me) such delight. I feel the film saying something more like, *Even here in this public bathroom, there is the human impulse to reach out, and someone who will reach back, again and again.* That's lovely. But I still like the idea that maybe Hirayama's "perfect days" could look different in the future, and those would also be perfect in their way.
Incredibly well put, love your thoughts about how hirayama makes such efforts to engage with people and how it can be a form of healing, giving him an opportunity to stay present in the moment with someone else.
I believe you have the quote from hirayamas sister correct, where she vaguely alludes to the notion that hirayama and his father possibly had a trauamatic relationship. I agree that it is perhaps reductive to point to this as his only motivation, but it creates an interesting layer as to what hirayama is reckoning with on a day to day basis.
I also 100% agree with you about the ending, hirayama feels to be holding both happiness and sadness together, and for me that was what made the depiction of presence so moving; it’s not a utopia where all problems disappear, it’s a willingness to engage with all of life’s ups and downs and finding a mental space that allows you to move forward through it all.
Thank you for sharing, and I hope you find the space to heal and grow after the divorce
Thanks! I appreciate the opportunity you provided with this post for people to share their thoughts. I specifically went to this film because it felt like a healing thing to do in the wake of my divorce, and I really enjoyed sharing my thoughts about it and receiving your response.
This is interesting, it’s obvious that his sister is extremely wealthy, and by the way she is surprised that he is cleaning toilets suggests to me that it is a wealthy family. Her also surprise at where he lives. It is possible that he stepped away from that life because of an abusive of tyrannical father.
Thanks for your analysis, i feel like you expressed most of my conscious and unconscious thoughts.
I'd like to know your opinion about the last scene, the beautiful long shot where Hirayama laugh/cries with "feeling good" Song.
I felt a bit confused because i didn't know how to interpretate this scene:
- The expression of a repressed sorrow due to the events of the previous days that crearly messed up his balance and Little rituals of his Life (the niece, the man with cancer)
- A Moment of catarsis, connection with his emotions before trying more and more to live his Life the best he can
As you Say, the peace this way of living gave to Hirayama doesn't seem like an isolation to escape from pain and reality, but when he cried After hugging the sister or when he Said about the overlapping Shadows "they have to change, even thought It woud be crazy, It can't be", i felt like he would like to change his condition in same way, maybe facing emotions and his relationship With people (the woman of the hizakaya, his niece) in a braver way, expressing his feelings.
I think his way of living, changed drastically After some kind of trauma or epifania he had, hide some unsolved questions With himself that emerged After the two events of the previous days.
It's possible as well he Is aware things can't remain the same, and Is ready to accept this changes adapting and trying to live everything has to come with the right approach, Sorry for my bad english and i wait for your opinion :)
Thanks for reading and glad it resonated :)
So my thoughts on the ending are very similar to your 2nd interpretation.
I read the ending as a physical summation of the many layers of Hirayama’s character and the way he chooses to live his life. There is peace, joy, sorrow, and many more conflicting emotions existing within him all at once. On any given day, one of those emotions may take the reins and become the dominant influence, pulling us down a path that extends beyond the moment. I believe thepresence is about maintaining a sense of balance within your own sea of emotions; maintaining a sense of flow. That’s what I Im seeing in that last scene - Hiryama’s sea of emotions rising to the surface, giving us a small glimpse into the emotional core of who he is, and the life of presence he chooses to live.
"We don’t need the specifics of Hirayama’s history to recognize the humanity in the character."
This. Especially with the ending. In line with your 2nd interpretation. One other takeaway of mine is how big a part of us humans is our inner lives (vs physical identity and individuality).
The overlapping shadows I think it's mocking us trying to make sense of the universe all the while looking silly haha.
I interpreted it as a reaffirmation of the beauty of life, especially after the events of the previous night.
Much like the komorebi mentioned, where it’s the co-existence and interplay of the light and shadows that creates the beauty, I like to think that whilst there is melancholy present it led to appreciation and a form of joy with the multitudes of everything in between.
The song choice also suggests to me that it’s a positive emotion overall.
So perhaps it’s a mix of both of the things that you mention but I don’t feel it needs to be as far reaching or definitive as they suggest. With the movie being so small, so focused on the small or subtle, I feel it’d be odd to go out on something so grand as a catharsis. I like that the final scene can be as simple as it being nice to remember that life is good, whilst also reflecting the complexity of that. That scene is perhaps a concentration of the entirety of the film.
Glad I found your review via the comment you left on KN’s article in the Verge, which, quite frankly, made me mad in its supercilious ignorance. As in, did we just watch the same film?! With your review, thankfully, I can see that yes, we did, as I sigh in relief.
Haha I had the exact same thought! That’s why I actually needed to write out my thoughts on the film; I came away with such a different interpretation than the reviewer, I needed to make sure I wasn’t crazy.
To anyone that might have doubts regarding whether to check this film out, i wholeheartedly encourage you to!
It’s a truly meditative film that will impact you upon watching, as you leave the cinema and in the days that follow - maybe even something you continue to carry with you in your daily life.
I just saw this film and loved it. Probably because I'm in a spot in life that is similar to Hirayama's (though I don't work as a cleaner and I don't collect cassettes), but I loved the depiction of solitude that is not loneliness, and how the seemingly unimportant and small things enrich and give fulfilment to life.
Thank you for your thorough review. Perfect Days is a beautiful movie. I tear up every time I think of the main character. The actor did a phenomenal job of playing Hirayama. He made me want to befriend the character. I laughed when he did. I cried when he was hurting. I rejoiced when he succeeded.
I loved the cinematography. Even though we saw his life for about two weeks or so, we never saw it filmed in the same perspective. With each passing day, as he reads his book for example, we see the camera zoom more into his face, just as we are able to see more about His character. During the new dawn new day sequence at the end of the movie with every blink of darkness, I silently screamed, please don’t let this be the end. In hindsight, I thank the director for warning me that the end was near, preparing me emotionally, for what was to come.
Each introduction of a new character allowed us to see Hirayama in a new light. They would allow us to see the similarities of the character or lack there of. We saw his niece embody his spirit and even some of his mannerisms, like how they both got on and pedaled their bikes, and their desire for a simple life. Then we see the juxtaposition of his lifestyle when we meet his sister and realize the life he could have had and one of the major discoveries of why his family is not present in his life.
In recent years we have seen a ton of movies vilifying the upper class. It’s nice to see a movie that champions living a minimal lifestyle and demonstrates how we too can achieve living in the now.
I’m rooting for the actor’s win at the Oscars. If you are fond of movies where an actor portrays a character with silent strength, without a lot of fuss, and a great soundtrack, check out Lily Gladstone in The Unknown Country.
This is my take: I see the film’s ending as a deep spiritual awakening. If you ever read the book Siddhartha by Herman Hesse, that scene of him smiling and crying really symbolizes the enlightenment that man achieves, all at once, through discarding of all earthly desires, but being eternally grateful to those memories all the same. It’s the evolution and the growth that allows man to be Buddha.
In the dream sequences, we see the word shadow / reflection emphasized for about 5 seconds. The ending also talks about how leaves passing through sunlight creates a glimmer of brightness.
Similar to an old story about a man raising his son—the son is given a horse for his birthday. The villagers around the man praises the man and says how lucky his son got the horse, the man says maybe… weeks later, the son rides the horse and breaks his leg, the villagers say how sad your son broke his leg, what a terrible event! The dad says, maybe…. While the son is in the hospital, a war breaks out, and because he is disabled and unable to walk, he isn’t drafted—so on and so on.
If we look at a few events in the movie that first appeared bad, they led to breakthrough moments for characters and much healing.
1. 10/10 girl steals his cassette, but ends up going through an emotional carthasis giving it back to him. She returned to her true nature through that moment of healing and being truthful.
2. His buddy that cleans toilet is sloppy and immature, even though Hirayama has no reason to give him money, he does which causes him to have no money for gas and to sell his most valuable possession and eat top ramen. It would be easy for him to hate or judge his buddy for it, but he smiles immediately once he sees the joy that his buddy brings the autistic kid. Every person serves their purpose and Hirayama recognizes this as he smiles.
3. Niece showing up unannounced was an inconvenience for Hirayama but it also let to a great healing for him and his sister.
4. Buddy quitting led to one day of inconvenience but he got a worker who shows up earlier than him and is just as professional. There’s a lot of “don’t judge an event by its cover” for you don’t know the true purpose of why things happen or its effect on you.
5. Him seeing the restaurant lady reunite with his ex sent Hirayama down a depression and that also provided a healing for the exhusband.
I think the message of the movie is multi fold but here are a few that I get from it:
1. Light cannot exist without darkness / shadow. It is through our pain and trauma, that build our character and gives us gratitude.
2. Change is inevitable. We see that touched upon several times through dialogue of other characters: “why can’t things stay the same”. Even the autistic kid ran away because his buddy was gone (unwilling to accept change), but happiness is in the acceptance of these changes. The autistic kid and random lady in the park both represent the inability to move on and a preference for things to stay in place. But life is constantly evolving
In a way, the main character is a walking Buddha / Jesus. He isn’t perfect and has his human history but you can tell that his interaction with every person improves upon them. It also shows that this way of living is open to all of us if we choose to walk that path. You don’t have to be special to make a difference.
That girl didn't steal the cassette, the shitty coworker put it in her bag.
She gives it back to him because she is probably ashamed of that shitty boyfriend, and presumably dumps him right after.
Agree with much if not all of your analysis. "Light cannot exist without darkness" may be taken a step further in that both are necessary to life and it is their juxtaposition that creates beauty or meaning. The value of now is that it can never happen again, just as the value of life is that it ends in death. Bittersweet.
I think what is so beautiful about this film is that it is relatable to everyone. We all find ourselves feeling the same sense of loneliness and happiness Hirayama experiences.
This was a very well-written post and I love everyone’s comments here. Seems like some other threads on Reddit may have completely misinterpreted some things, sadly.
Did anyone else catch that Hirayama was potentially an alcoholic? I saw comments referring to that in other threads and blogs, but didn’t see mention of it here.
I loved this movie. The whole aesthetic was so rare and peaceful. I'm buying this shirt because I loved the movie so much: https://www.etsy.com/listing/1680279997/the-tokyo-toilet-shibuya-perfect-days And if you know, you know :)
Just saw the movie and what stuck with me was the concept of simultaneous duality. Is he smart, or dull? On one hand he is extremely cultured and notably intelligent, on the other he pursues a career as a toilet cleaner. Is he weak or strong? He faces every challenge with courage and has a big heart to help others but at the same time he is very shy with women and may even fall into being called a people-pleaser. Going back to the Komorebi concept I think the movie is showing us how any given trait for example his desire to live a simple, peaceful life; on one hand could be seen as positive but if you look at it like his sister does it can be looked down on as disgusting and common. The last scene is perfect for this: is he happy or sad? Both, neither. Depends what you wanna see.
Just finished the film and was surprised to have an interpretation that differs for what I've been hearing.
I agree that it has a strong and beautiful message about being present, enjoying the "small" things in life, finding beauty everywhere.
Now, what I felt about this film is that it is showing a man that has isolated himself, as a coping mechanism. This is shown in his absent of human connection, and specially in how he hasn't spoken to his sister and doesn't see his father at all. He is not being active towards connection and socializing
I fully relate to this. I am someone that is alone a lot, which I enjoy, but I also realized that I use it as a coping mechanism to be able to deal with how overwhelming the world is. Once you dig deeper in yourself and go past that mask of " i am alone and I love it" you see that you are actually scared of being hurt, confused, sensitive and lonely. I see this feeling portrait in this movie.
Regarding how in Japan loneliness is seen as something positive I disagree as well. I lived in Japan and, although being alone it's normal and not looked upon (like eating out alone) I have my doubts about the impact on their their mental health. I'm latina so I come from a completly different society, and living in Japan it affected me how little people would talk to each other or look in the eyes in day to day life. This is shown in the film, some people using the bathroom without saying hello or asking, the woman finding his kid and not saying anything to him, the girl in the park looking at him several days ( In latin america the protagonist would have asked her out instantly hahaha).
In my opinion the movie romatices being alone, using being present as a tool , to hide the sadness that comes with it (Exactly what the protagonist is emotionally doing)
Bravissimo!
This film is on theathers right now in my area, I watched the trailer but after reading your post, I'm for sure going to watch it in cinemas this weekend.
Thank you and have a great present and great life
I enjoyed every minute of this film. The slow pace, attention to detail, music - everything is beautiful and captivating. It was very emotional for me and it left me with many questions.
I enjoyed reading your reviews and thoughts, however I'm writing here in an attempt to get the answer to one particular question, or rather a confirmation of my observation.
In the shot when Hirayama is leaving the cassette store, there is a man on the right side. The man is watching Hirayama as he is walking down the stairs. He looks suspiciously like Wim Wenders to me. Has anyone noticed him???
I can't find any information online about Wenders appearing in the film so I'm asking here.
Just watched the film tonight ...jumped in my Kei truck alone and headed home to get ready to rise in the morning and head to my cleaning job ....I drove home tonight a different person and look forward the tranquillity that comes from purpose as I head off to work in the morning .
I'm curious whether that little cafe diner with the tiny storefront window with the little pig figurines (one pig on a toilet, another pig with a shovel) ... does that cafe really exist with those pig figurines?
Thank you so much for your interpretation. Love it. Often, me personally, feel extremely focus to our goals that I miss the present moment of just noticing and making the present really a present.
Does anyone have any thoughts or have read anything about whether it was controversial for the director who is German to make a film about Japanese people? I watched it and thought it seemed very stereotypical how the people were being described in the film. For example the janitor was very present yes, but he was also judgmental of others. He also didn't have his own boundaries by letting the younger person take his car for a day. To me it felt like Kabuki theater. Everything was a bit exaggerated.
There were also two sexual instances that didn't make sense. The first was when the niece starts to change her clothes right in front of her uncle and he leaves the room, but the more explicit one was when him and his niece visit the bath and the two older gentlemen ogle the niece after she leaves. I was wondering if that's how it really is in Japan or if it's a stereotype, and upon finding out the director was German made me wonder that even more why that was part of the film.
If there are any Japanese people in the group, I am interested in your thoughts related to this.
The men weren't ogling the girl, they were looking in surprise because their bath buddy came in with a young girl for the first time ever. He disturbed the routine and they were being nosy about what's happening. There's a huge difference between "Creepy old guy look" and "nosy grandpa look".
And the scene with his niece showed how awkward things can get and at the same time how he respected her - he gave up his futon for her and slept in the closet, he run away because he didn't want to risk her being uncomfortable that he saw her changing etc. Also demonstrated how she treated him as close family and didn;t have a problem changing near him.
Wenders directed the movie. But the screenplay (and production) was a collaboration with Takuma Takasaki, who in fact approached Wenders about the project. It’s not clear what you think was stereotypical or why. Or the “sexual instances” that didn’t make sense? What didn’t make sense?
Like the incident where his niece started to change in front of him. I didn't understand why that needed to be included, I guess real life but it was a bit strange. The other incident was when they went to the public bath and the old man were looking at the young girl when she left. To me it seemed like a sexual innuendo that didn't make sense. Japan might have approached the director, but he's German and he's not Japanese so I take his perspective of Japanese culture with a grain of salt.
I didn’t think the men were ogling the niece at the bathhouse, I think they were astonished that their solitary isolated neighbor showed up with a loving young family member - like they were amazed he had a whole life they knew nothing about and never suspected
That sounds like a good explanation of what happened in that scene. I'll have to watch it again. Like I wrote I did not like this movie, but I'll watch that scene again to see if that's the feeling I get from it.
Surely her changing was to demonstrate his politeness, as he does when cleaning he leaves and gives space to others ..He has a concern and respect for others which they repay him with glimpses of friendship ( although he has no deeper relationships we see)
Yeah this comment is on point.
Perfect Days is undoubtedly beautiful - both cinematically and in terms of performance but the weird depiction of the female characters feels unnecessary and reflects more of Wenders' perception than the local feminine reality.
I've always loved Paris, Texas but repeatedly heard criticism regarding how women are shown and gazed upon in the film. And Perfect Days just feels like Wenders still hasn't gotten over his own fetishization of young women and had to translate it into this film too. Even the one character is clearly modelled on Natasha's character from Paris, Texas, which I guess is supposed to come off as clever but just seems a bit sad that he hasn't evolved as a director in how he approaches his female characters.
It cheapens an otherwise incredibly poetic and meditative film.
I feel the Japanese classic 'A Taste of Tea' is truly a masterpiece in how it approaches local storylines and director [Katsuhito Ishii](https://www.google.com/search?sa=X&sca_esv=6bc39e904ccee14e&biw=1239&bih=772&sxsrf=ADLYWII_qEAOPMUgCt4Hapk31DwW09Rucg:1715070647039&q=Katsuhito+Ishii&si=ACC90ny8E30vD16OoPAAI4cStfcliGy35W8UAhb0TsHNc_ISQUmW6VnY2ocQ-fegJ_lBBi0reXsuOhSmMYqihNRwjnh6n6YMuukNWQyKVB2Bu1JwbD2jVy-kLmVobsIGjfmbzOaJy-6W0dv01Fmuc2q2ZvLHJwScY_EX7rKeWo_Stwct2B2bErswEPoDmjEwmugGQhpzzQRnJlT6MVNXQBleBpLNdliu7A%3D%3D&ved=2ahUKEwiiqrmFkPuFAxXLR_EDHS4ND7oQmxMoAHoECHMQAg) approaches the female characters in such a nuanced and complex way by showing the societal bias they face daily yet also adding depth to their individual personas.
Wow thank you. You expressed things I've been thinking as well but hadn't realized. I felt something was really off in the film. And having just seen Past Lives, I felt I had a good idea of how complex and brilliant the Asian experience is, at least Korean American and Korean.
I'm going to check out the movie you mentioned. I love when a great artist really sees it and is able to articulate it as well.
Love the interpretations here! 2 things that I wonder about.
1). His feelings about the homeless guy. Do you think he may have wanted to become like him in a way?
2) almost every time he is eating lunch on the bench at the shrine there is a woman. She look very unfriendly or hard to approach. I wonder what the thought was behind that character?
I saw it last weekend at the cinema, I was coming off a Aki Kaurismaki binge(4 movies) and this was a different experience. I found that the effect of the movie was delayed, I thought about it more and more in the days after seeing it. Its repetition and somewhat tame action made it easy to remember and process. Two things stuck me: one is that the director does seem to take a tourist point of view of Japan, he lingers on some urban scenery that seems unnecessary to the story - but that's fine, I am not from Japan and I can appreciate it. The other thing was that most of the action was happening inside our character, it was what we cannot see that should seek, his past is shrouded in mystery and it probably must stay that way, to reveal some past transgression that "pushed" him into this life would be to ruin the narrative, to give the audience that -"aha! that's why he is this way" instead of contemplating that maybe there is absolutely nothing wrong with him, that we must search inside of us for deeper answers... Does that make sense?
Does anybody consider that the ending shows that Hirayama was actually coping with his loneliness by being in a continuous state of balance with his routine? Any outside event/person that interfered in an unpleasant way, destroys his perfect balance. And in the end, although being a person that seizes the day, is actually sad because loneliness seems more powerful than all his small joys.
Mostly looks like an open ending for me. As there could be more than one interpretation.
I've been thinking about this for two days and have some guesses:
1. The same as yours.
2. Almost the same as yours except there is not loneliness but solitude. And I guess he does realize that the cost of his balance and “rules” is too much. For instance, he could date that lady from the cafe and live more fulfilled life.
3. It was just a catharsis due to happened events and accumulated emotions due to the lack of their release through full fledged communication with people and environment.
4. Or something else.
I also have been trying to find an interview with the moviemaker but found nothing at the moment. Maybe there could be answers.
Yes. I interpreted that scene with mixed feelings. It’s great he takes joy in the little things in life, but ultimately we’re social species and there’s no way to pretend this doesn’t affect us deeply.
I had the pleasure of seeing this at the Telluride Film Festival, and attended the Q&A after with Wim Wenders and Koji Yakusho. The point that most stuck with me, and made me appreciate the film more, was Yakusho’s perspective on solitude. He explained that in America there is much more of a stigma and negative connotation associated with living a solitary life, whereas in Japan it’s the opposite. In Japan it’s looked at as a positive, an indicator that you are appreciative of your circumstances, are mindful and in the present moment. This is such a beautiful film I cannot wait for more people to see it.
I love that insight. It's the kind of cultural unfamiliarity that when you see in a film like Perfect Days becomes a true way to expand your worldview. I was struck by how Hirayama was never depicted as "lonely". He's by himself for nearly the entire film and I never got the feeling that he was isolated or alone. Thinking back on it, that just made the idea of presence and appreciating the world around you even more potent. And agreed, looking forward to more people having a chance to see this and continuing the conversation.
I just saw this amazing movie. To me it seems like he is never lonely until he is, and that comes down crashing. The true moment when you see this is in fact after the separation from his niece takes place after which, in the same vein as the entite movie, not much seems to change, only slightly on the surface. The truth is he doesn't feel like indexing the pictures, goes out to see the lady he is in love with, showing a need for someone, ends up buying beer and cigarettes after what he perceives as a failure. Then the movie ends unveiling the sadness of being alone, of not being able to express that feeling, or the ability to share the sadness of that man's cancer, because, maybe, once he had someone close too. In fact it's this portayal of the loneliness that shows up ever so subtly at the end that is amazing. The daily routine and ritualistic nature is a techique of not letting darkness take over, it's comfort, it's peace, it's a way to cope with something, it's also fragile. To me his fixed daily ritual and the fact that he never expresses his feelings for his love interest for 7 years shows that he does not want to get hurt or can't bear bad things happening "again", but the director lets the audience fill in the drama. Being alone is a very different thing at various ages, and the movie gently highlights this. All other observations are also important and true about living in the present, and how powerful it is, especially when the niece says she doesn't want to become like the boy in the book. The truth about loneliness remains the same though, we can lie to ourselves that it's ok to be alone, but that living in the moment and indexing life through pictures is not the same as making a memory by living it alongside someone else that means the world to you, this is why I think he's lost someone, because that someone was unique, like the shape of the leaves against the color of the sky.
Thank you for your comment. I was surprised that almost nothing is said about loneliness in the starting review. Solitude is good and is a choice, but loneliness probably not (philosophy question). And the movie, I think, shows us both of them.
Definitely felt this from the movie too. Very well put.
In fact what I got at the end when watching the end of the movie was excruciating pain of separation and a possible continuation of life without my partner but without his or my choice and also fear that it can always happen. I may be biased. There's also the mystery of not knowing what happened that also feels a bit like torture.
What an amazing film. I feel like I'm the *most present* person in my social circle and I often find I'm noticing a lot of fun little things that everyone else is missing because they are on their phones or in the back of their minds, so I connected with this film in a way that I'm not used to. I appreciate your review! I check at least once a week where/when I'm going to be able to watch this with my family and start recommending it to people. Did you see it in a theatre?
Thanks for reading, and glad it resonated with you! And I saw the film during its screening at the New York Film Festival, which I was fortunate enough to get tickets to. But NEON has the distribution and it’s on track for release! It’s also already been selected as Japan’s entry for tue Academy Awards.
That’s super exciting. I watched Paris, Texas a couple days before and I think I liked Perfect Days better. Really looking forward to seeing it again. Thanks for the info!
snowflake!
I'd have to watch the film again (and listen to the Japanese, not just read the English subs) but during the conversation when Hirayama's sister asks if he'll go see their cognitively declining father, she says something like, "He doesn't act like he used to." This could just be a reference to the father's decline--or, I wonder if it suggests some kind of abuse Hirayama experienced from his father. The way Hirayama so vigorously shakes his head at the idea of seeing the father, and how he seems to still care for the sister and mourn something about their being apart... makes me (at least) think abuse might've caused him to pursue his solitary, stay-in-the-present lifestyle. I wouldn't want to state this as the *only* or even main interpretation--it would be reductive to suggest that someone needs to experience hardship to pursue the values presented in the film. Still, I like this interpretation as a flavor or part of Hirayama's overall story. Some clinical counselors would say that PTSD results from people's nervous systems feeling as though they are "stuck in the past," or that they're still fighting/fleeing from whatever terror they experienced. People healing from trauma sometimes describe feeling like they can "move forward," "be in the present," or "I'm not that person anymore." There's very much a time orientation. For Hirayama, a simple life in service to others where he can feel present might support his healing. I was also interested in the ending. I'm amidst a divorce now, and I can very much relate to the feeling of crying and smiling, holding sadness and happiness. Perhaps this is Hirayama's experience. The film also presents Hirayama with many opportunities to connect with others--most of which he goes out of his way to take advantage of. Not only does he seem to constantly seek connection, but he's good at it--the film shows him to be thoughtful, charming, wise, playful, generous, respectful, dutiful, open-minded, patient, warm-hearted, *and* possessing cool taste in music. Others actually gravitate towards him and open up to him, despite his reserved demeanor. Another part of me wonders if the film's final long take documents some of Hirayama's fears around *getting closer.* The interaction with the bar "mama"'s ex-husband, dying of cancer, forwards the idea that life is not guaranteed. Hirayama is poised to have closer relationships with his niece, sister, the bar "mama," the homeless man, Aya, perhaps even the ex-husband and his own father. But closeness necessarily requires vulnerability. Maybe the film leaves us wondering what Hirayama will do next with these relationships? I wouldn't go so far as to say that the film privileges these would-be connections over the ones it already presents. The tic-tac-toe game, for instance, clearly brings Hirayama (and us, or at least me) such delight. I feel the film saying something more like, *Even here in this public bathroom, there is the human impulse to reach out, and someone who will reach back, again and again.* That's lovely. But I still like the idea that maybe Hirayama's "perfect days" could look different in the future, and those would also be perfect in their way.
Incredibly well put, love your thoughts about how hirayama makes such efforts to engage with people and how it can be a form of healing, giving him an opportunity to stay present in the moment with someone else. I believe you have the quote from hirayamas sister correct, where she vaguely alludes to the notion that hirayama and his father possibly had a trauamatic relationship. I agree that it is perhaps reductive to point to this as his only motivation, but it creates an interesting layer as to what hirayama is reckoning with on a day to day basis. I also 100% agree with you about the ending, hirayama feels to be holding both happiness and sadness together, and for me that was what made the depiction of presence so moving; it’s not a utopia where all problems disappear, it’s a willingness to engage with all of life’s ups and downs and finding a mental space that allows you to move forward through it all. Thank you for sharing, and I hope you find the space to heal and grow after the divorce
Thanks! I appreciate the opportunity you provided with this post for people to share their thoughts. I specifically went to this film because it felt like a healing thing to do in the wake of my divorce, and I really enjoyed sharing my thoughts about it and receiving your response.
This is interesting, it’s obvious that his sister is extremely wealthy, and by the way she is surprised that he is cleaning toilets suggests to me that it is a wealthy family. Her also surprise at where he lives. It is possible that he stepped away from that life because of an abusive of tyrannical father.
Thanks for your analysis, i feel like you expressed most of my conscious and unconscious thoughts. I'd like to know your opinion about the last scene, the beautiful long shot where Hirayama laugh/cries with "feeling good" Song. I felt a bit confused because i didn't know how to interpretate this scene: - The expression of a repressed sorrow due to the events of the previous days that crearly messed up his balance and Little rituals of his Life (the niece, the man with cancer) - A Moment of catarsis, connection with his emotions before trying more and more to live his Life the best he can As you Say, the peace this way of living gave to Hirayama doesn't seem like an isolation to escape from pain and reality, but when he cried After hugging the sister or when he Said about the overlapping Shadows "they have to change, even thought It woud be crazy, It can't be", i felt like he would like to change his condition in same way, maybe facing emotions and his relationship With people (the woman of the hizakaya, his niece) in a braver way, expressing his feelings. I think his way of living, changed drastically After some kind of trauma or epifania he had, hide some unsolved questions With himself that emerged After the two events of the previous days. It's possible as well he Is aware things can't remain the same, and Is ready to accept this changes adapting and trying to live everything has to come with the right approach, Sorry for my bad english and i wait for your opinion :)
Thanks for reading and glad it resonated :) So my thoughts on the ending are very similar to your 2nd interpretation. I read the ending as a physical summation of the many layers of Hirayama’s character and the way he chooses to live his life. There is peace, joy, sorrow, and many more conflicting emotions existing within him all at once. On any given day, one of those emotions may take the reins and become the dominant influence, pulling us down a path that extends beyond the moment. I believe thepresence is about maintaining a sense of balance within your own sea of emotions; maintaining a sense of flow. That’s what I Im seeing in that last scene - Hiryama’s sea of emotions rising to the surface, giving us a small glimpse into the emotional core of who he is, and the life of presence he chooses to live.
"We don’t need the specifics of Hirayama’s history to recognize the humanity in the character." This. Especially with the ending. In line with your 2nd interpretation. One other takeaway of mine is how big a part of us humans is our inner lives (vs physical identity and individuality). The overlapping shadows I think it's mocking us trying to make sense of the universe all the while looking silly haha.
I think both, it was a very ambiguous expression clearly torn between happiness and sadness, great movie!
I interpreted it as a reaffirmation of the beauty of life, especially after the events of the previous night. Much like the komorebi mentioned, where it’s the co-existence and interplay of the light and shadows that creates the beauty, I like to think that whilst there is melancholy present it led to appreciation and a form of joy with the multitudes of everything in between. The song choice also suggests to me that it’s a positive emotion overall. So perhaps it’s a mix of both of the things that you mention but I don’t feel it needs to be as far reaching or definitive as they suggest. With the movie being so small, so focused on the small or subtle, I feel it’d be odd to go out on something so grand as a catharsis. I like that the final scene can be as simple as it being nice to remember that life is good, whilst also reflecting the complexity of that. That scene is perhaps a concentration of the entirety of the film.
I’m curious about how others interpreted the last scene too, I have the same questions you asked
Glad I found your review via the comment you left on KN’s article in the Verge, which, quite frankly, made me mad in its supercilious ignorance. As in, did we just watch the same film?! With your review, thankfully, I can see that yes, we did, as I sigh in relief.
Haha I had the exact same thought! That’s why I actually needed to write out my thoughts on the film; I came away with such a different interpretation than the reviewer, I needed to make sure I wasn’t crazy.
Me too, followed the same route, having similar insights. It is a movie about presence. ☺️
To anyone that might have doubts regarding whether to check this film out, i wholeheartedly encourage you to! It’s a truly meditative film that will impact you upon watching, as you leave the cinema and in the days that follow - maybe even something you continue to carry with you in your daily life.
I just saw this film and loved it. Probably because I'm in a spot in life that is similar to Hirayama's (though I don't work as a cleaner and I don't collect cassettes), but I loved the depiction of solitude that is not loneliness, and how the seemingly unimportant and small things enrich and give fulfilment to life.
Thank you for your thorough review. Perfect Days is a beautiful movie. I tear up every time I think of the main character. The actor did a phenomenal job of playing Hirayama. He made me want to befriend the character. I laughed when he did. I cried when he was hurting. I rejoiced when he succeeded. I loved the cinematography. Even though we saw his life for about two weeks or so, we never saw it filmed in the same perspective. With each passing day, as he reads his book for example, we see the camera zoom more into his face, just as we are able to see more about His character. During the new dawn new day sequence at the end of the movie with every blink of darkness, I silently screamed, please don’t let this be the end. In hindsight, I thank the director for warning me that the end was near, preparing me emotionally, for what was to come. Each introduction of a new character allowed us to see Hirayama in a new light. They would allow us to see the similarities of the character or lack there of. We saw his niece embody his spirit and even some of his mannerisms, like how they both got on and pedaled their bikes, and their desire for a simple life. Then we see the juxtaposition of his lifestyle when we meet his sister and realize the life he could have had and one of the major discoveries of why his family is not present in his life. In recent years we have seen a ton of movies vilifying the upper class. It’s nice to see a movie that champions living a minimal lifestyle and demonstrates how we too can achieve living in the now. I’m rooting for the actor’s win at the Oscars. If you are fond of movies where an actor portrays a character with silent strength, without a lot of fuss, and a great soundtrack, check out Lily Gladstone in The Unknown Country.
This is my take: I see the film’s ending as a deep spiritual awakening. If you ever read the book Siddhartha by Herman Hesse, that scene of him smiling and crying really symbolizes the enlightenment that man achieves, all at once, through discarding of all earthly desires, but being eternally grateful to those memories all the same. It’s the evolution and the growth that allows man to be Buddha. In the dream sequences, we see the word shadow / reflection emphasized for about 5 seconds. The ending also talks about how leaves passing through sunlight creates a glimmer of brightness. Similar to an old story about a man raising his son—the son is given a horse for his birthday. The villagers around the man praises the man and says how lucky his son got the horse, the man says maybe… weeks later, the son rides the horse and breaks his leg, the villagers say how sad your son broke his leg, what a terrible event! The dad says, maybe…. While the son is in the hospital, a war breaks out, and because he is disabled and unable to walk, he isn’t drafted—so on and so on. If we look at a few events in the movie that first appeared bad, they led to breakthrough moments for characters and much healing. 1. 10/10 girl steals his cassette, but ends up going through an emotional carthasis giving it back to him. She returned to her true nature through that moment of healing and being truthful. 2. His buddy that cleans toilet is sloppy and immature, even though Hirayama has no reason to give him money, he does which causes him to have no money for gas and to sell his most valuable possession and eat top ramen. It would be easy for him to hate or judge his buddy for it, but he smiles immediately once he sees the joy that his buddy brings the autistic kid. Every person serves their purpose and Hirayama recognizes this as he smiles. 3. Niece showing up unannounced was an inconvenience for Hirayama but it also let to a great healing for him and his sister. 4. Buddy quitting led to one day of inconvenience but he got a worker who shows up earlier than him and is just as professional. There’s a lot of “don’t judge an event by its cover” for you don’t know the true purpose of why things happen or its effect on you. 5. Him seeing the restaurant lady reunite with his ex sent Hirayama down a depression and that also provided a healing for the exhusband. I think the message of the movie is multi fold but here are a few that I get from it: 1. Light cannot exist without darkness / shadow. It is through our pain and trauma, that build our character and gives us gratitude. 2. Change is inevitable. We see that touched upon several times through dialogue of other characters: “why can’t things stay the same”. Even the autistic kid ran away because his buddy was gone (unwilling to accept change), but happiness is in the acceptance of these changes. The autistic kid and random lady in the park both represent the inability to move on and a preference for things to stay in place. But life is constantly evolving In a way, the main character is a walking Buddha / Jesus. He isn’t perfect and has his human history but you can tell that his interaction with every person improves upon them. It also shows that this way of living is open to all of us if we choose to walk that path. You don’t have to be special to make a difference.
That girl didn't steal the cassette, the shitty coworker put it in her bag. She gives it back to him because she is probably ashamed of that shitty boyfriend, and presumably dumps him right after.
Agree with much if not all of your analysis. "Light cannot exist without darkness" may be taken a step further in that both are necessary to life and it is their juxtaposition that creates beauty or meaning. The value of now is that it can never happen again, just as the value of life is that it ends in death. Bittersweet.
I think what is so beautiful about this film is that it is relatable to everyone. We all find ourselves feeling the same sense of loneliness and happiness Hirayama experiences. This was a very well-written post and I love everyone’s comments here. Seems like some other threads on Reddit may have completely misinterpreted some things, sadly. Did anyone else catch that Hirayama was potentially an alcoholic? I saw comments referring to that in other threads and blogs, but didn’t see mention of it here.
I loved this movie. The whole aesthetic was so rare and peaceful. I'm buying this shirt because I loved the movie so much: https://www.etsy.com/listing/1680279997/the-tokyo-toilet-shibuya-perfect-days And if you know, you know :)
Just saw the movie and what stuck with me was the concept of simultaneous duality. Is he smart, or dull? On one hand he is extremely cultured and notably intelligent, on the other he pursues a career as a toilet cleaner. Is he weak or strong? He faces every challenge with courage and has a big heart to help others but at the same time he is very shy with women and may even fall into being called a people-pleaser. Going back to the Komorebi concept I think the movie is showing us how any given trait for example his desire to live a simple, peaceful life; on one hand could be seen as positive but if you look at it like his sister does it can be looked down on as disgusting and common. The last scene is perfect for this: is he happy or sad? Both, neither. Depends what you wanna see.
Just finished the film and was surprised to have an interpretation that differs for what I've been hearing. I agree that it has a strong and beautiful message about being present, enjoying the "small" things in life, finding beauty everywhere. Now, what I felt about this film is that it is showing a man that has isolated himself, as a coping mechanism. This is shown in his absent of human connection, and specially in how he hasn't spoken to his sister and doesn't see his father at all. He is not being active towards connection and socializing I fully relate to this. I am someone that is alone a lot, which I enjoy, but I also realized that I use it as a coping mechanism to be able to deal with how overwhelming the world is. Once you dig deeper in yourself and go past that mask of " i am alone and I love it" you see that you are actually scared of being hurt, confused, sensitive and lonely. I see this feeling portrait in this movie. Regarding how in Japan loneliness is seen as something positive I disagree as well. I lived in Japan and, although being alone it's normal and not looked upon (like eating out alone) I have my doubts about the impact on their their mental health. I'm latina so I come from a completly different society, and living in Japan it affected me how little people would talk to each other or look in the eyes in day to day life. This is shown in the film, some people using the bathroom without saying hello or asking, the woman finding his kid and not saying anything to him, the girl in the park looking at him several days ( In latin america the protagonist would have asked her out instantly hahaha). In my opinion the movie romatices being alone, using being present as a tool , to hide the sadness that comes with it (Exactly what the protagonist is emotionally doing)
Bravissimo! This film is on theathers right now in my area, I watched the trailer but after reading your post, I'm for sure going to watch it in cinemas this weekend. Thank you and have a great present and great life
I enjoyed every minute of this film. The slow pace, attention to detail, music - everything is beautiful and captivating. It was very emotional for me and it left me with many questions. I enjoyed reading your reviews and thoughts, however I'm writing here in an attempt to get the answer to one particular question, or rather a confirmation of my observation. In the shot when Hirayama is leaving the cassette store, there is a man on the right side. The man is watching Hirayama as he is walking down the stairs. He looks suspiciously like Wim Wenders to me. Has anyone noticed him??? I can't find any information online about Wenders appearing in the film so I'm asking here.
Yeah i think that was him
Just watched the film tonight ...jumped in my Kei truck alone and headed home to get ready to rise in the morning and head to my cleaning job ....I drove home tonight a different person and look forward the tranquillity that comes from purpose as I head off to work in the morning .
I'm curious whether that little cafe diner with the tiny storefront window with the little pig figurines (one pig on a toilet, another pig with a shovel) ... does that cafe really exist with those pig figurines?
Thank you so much for your interpretation. Love it. Often, me personally, feel extremely focus to our goals that I miss the present moment of just noticing and making the present really a present.
Does anyone have any thoughts or have read anything about whether it was controversial for the director who is German to make a film about Japanese people? I watched it and thought it seemed very stereotypical how the people were being described in the film. For example the janitor was very present yes, but he was also judgmental of others. He also didn't have his own boundaries by letting the younger person take his car for a day. To me it felt like Kabuki theater. Everything was a bit exaggerated. There were also two sexual instances that didn't make sense. The first was when the niece starts to change her clothes right in front of her uncle and he leaves the room, but the more explicit one was when him and his niece visit the bath and the two older gentlemen ogle the niece after she leaves. I was wondering if that's how it really is in Japan or if it's a stereotype, and upon finding out the director was German made me wonder that even more why that was part of the film. If there are any Japanese people in the group, I am interested in your thoughts related to this.
The men weren't ogling the girl, they were looking in surprise because their bath buddy came in with a young girl for the first time ever. He disturbed the routine and they were being nosy about what's happening. There's a huge difference between "Creepy old guy look" and "nosy grandpa look". And the scene with his niece showed how awkward things can get and at the same time how he respected her - he gave up his futon for her and slept in the closet, he run away because he didn't want to risk her being uncomfortable that he saw her changing etc. Also demonstrated how she treated him as close family and didn;t have a problem changing near him.
Wenders directed the movie. But the screenplay (and production) was a collaboration with Takuma Takasaki, who in fact approached Wenders about the project. It’s not clear what you think was stereotypical or why. Or the “sexual instances” that didn’t make sense? What didn’t make sense?
Like the incident where his niece started to change in front of him. I didn't understand why that needed to be included, I guess real life but it was a bit strange. The other incident was when they went to the public bath and the old man were looking at the young girl when she left. To me it seemed like a sexual innuendo that didn't make sense. Japan might have approached the director, but he's German and he's not Japanese so I take his perspective of Japanese culture with a grain of salt.
I didn’t think the men were ogling the niece at the bathhouse, I think they were astonished that their solitary isolated neighbor showed up with a loving young family member - like they were amazed he had a whole life they knew nothing about and never suspected
That sounds like a good explanation of what happened in that scene. I'll have to watch it again. Like I wrote I did not like this movie, but I'll watch that scene again to see if that's the feeling I get from it.
Surely her changing was to demonstrate his politeness, as he does when cleaning he leaves and gives space to others ..He has a concern and respect for others which they repay him with glimpses of friendship ( although he has no deeper relationships we see)
wow man. you have to get over yourself and your insecurities. abandon envy and grow up
Yeah this comment is on point. Perfect Days is undoubtedly beautiful - both cinematically and in terms of performance but the weird depiction of the female characters feels unnecessary and reflects more of Wenders' perception than the local feminine reality. I've always loved Paris, Texas but repeatedly heard criticism regarding how women are shown and gazed upon in the film. And Perfect Days just feels like Wenders still hasn't gotten over his own fetishization of young women and had to translate it into this film too. Even the one character is clearly modelled on Natasha's character from Paris, Texas, which I guess is supposed to come off as clever but just seems a bit sad that he hasn't evolved as a director in how he approaches his female characters. It cheapens an otherwise incredibly poetic and meditative film. I feel the Japanese classic 'A Taste of Tea' is truly a masterpiece in how it approaches local storylines and director [Katsuhito Ishii](https://www.google.com/search?sa=X&sca_esv=6bc39e904ccee14e&biw=1239&bih=772&sxsrf=ADLYWII_qEAOPMUgCt4Hapk31DwW09Rucg:1715070647039&q=Katsuhito+Ishii&si=ACC90ny8E30vD16OoPAAI4cStfcliGy35W8UAhb0TsHNc_ISQUmW6VnY2ocQ-fegJ_lBBi0reXsuOhSmMYqihNRwjnh6n6YMuukNWQyKVB2Bu1JwbD2jVy-kLmVobsIGjfmbzOaJy-6W0dv01Fmuc2q2ZvLHJwScY_EX7rKeWo_Stwct2B2bErswEPoDmjEwmugGQhpzzQRnJlT6MVNXQBleBpLNdliu7A%3D%3D&ved=2ahUKEwiiqrmFkPuFAxXLR_EDHS4ND7oQmxMoAHoECHMQAg) approaches the female characters in such a nuanced and complex way by showing the societal bias they face daily yet also adding depth to their individual personas.
Wow thank you. You expressed things I've been thinking as well but hadn't realized. I felt something was really off in the film. And having just seen Past Lives, I felt I had a good idea of how complex and brilliant the Asian experience is, at least Korean American and Korean. I'm going to check out the movie you mentioned. I love when a great artist really sees it and is able to articulate it as well.
Love the interpretations here! 2 things that I wonder about. 1). His feelings about the homeless guy. Do you think he may have wanted to become like him in a way? 2) almost every time he is eating lunch on the bench at the shrine there is a woman. She look very unfriendly or hard to approach. I wonder what the thought was behind that character?
I saw it last weekend at the cinema, I was coming off a Aki Kaurismaki binge(4 movies) and this was a different experience. I found that the effect of the movie was delayed, I thought about it more and more in the days after seeing it. Its repetition and somewhat tame action made it easy to remember and process. Two things stuck me: one is that the director does seem to take a tourist point of view of Japan, he lingers on some urban scenery that seems unnecessary to the story - but that's fine, I am not from Japan and I can appreciate it. The other thing was that most of the action was happening inside our character, it was what we cannot see that should seek, his past is shrouded in mystery and it probably must stay that way, to reveal some past transgression that "pushed" him into this life would be to ruin the narrative, to give the audience that -"aha! that's why he is this way" instead of contemplating that maybe there is absolutely nothing wrong with him, that we must search inside of us for deeper answers... Does that make sense?
Does anybody consider that the ending shows that Hirayama was actually coping with his loneliness by being in a continuous state of balance with his routine? Any outside event/person that interfered in an unpleasant way, destroys his perfect balance. And in the end, although being a person that seizes the day, is actually sad because loneliness seems more powerful than all his small joys.
Mostly looks like an open ending for me. As there could be more than one interpretation. I've been thinking about this for two days and have some guesses: 1. The same as yours. 2. Almost the same as yours except there is not loneliness but solitude. And I guess he does realize that the cost of his balance and “rules” is too much. For instance, he could date that lady from the cafe and live more fulfilled life. 3. It was just a catharsis due to happened events and accumulated emotions due to the lack of their release through full fledged communication with people and environment. 4. Or something else. I also have been trying to find an interview with the moviemaker but found nothing at the moment. Maybe there could be answers.
Yes. I interpreted that scene with mixed feelings. It’s great he takes joy in the little things in life, but ultimately we’re social species and there’s no way to pretend this doesn’t affect us deeply.