Masaya é una specie di artista/creativo/tante altre cose e vive a Tokyo. Seduto su una sedia, in un ospedale, Masaya aspetta la morte della mamma, malata terminal cancer The theme of the story is not so much of this perfectly normal because its very normal Masaya past: a childhood like many others, a careless and drunken father, a wonderful mother and a life as more than usual disappointments of success, mainly because not everyone is born beautiful, cool, intelligent Nobel Prize or Heroes: most people live like shit, even in Japan, but there is still a blessing that is called "mother" .
Window on true feelings so as to reflect even in their scontatezza, the film is made of its characters well done: Masaya, interpreted from the usual excellent オダギリ ジョー (Joe Odagiri ) is a nice person on the capacities and quiet good intentions, despite its growth has been virtually ineffectual in terms of education (drawing cartoons for children and talk about things "dirty "erotica with a radio microphone). Even his father has driven on all fronts, from this point of view, although in its tragicomic booze in those damn memorable and eight mm home movies in which she delights in taking a run-dominated Masaya helpless child in front of a blurred fury harmless madness, madness that only a woman of the house can tame shots at rugby tackle-style: Eiko, una donna di poche parole e forte come la sua 九州( Kyūshū ) che doma il Godzilla della quotidianità familiare e che con coraggio ha cresciuto Masaya forgiando il carattere di una persona fantastica nella sua dannata normalità.
Non é un mistero che si aspetti la morte della signora Eiko, scontata come quell'evento naturale col quale tutti noi prima o poi nella nostra vita avremo a che fare, e comunque sempre scontatamente dolorosa.
Questo é un film di dolore e di morte, come tanti, ce ne sono in Giappone: per i più will be easy to get caught by the close of chair to dry the tears, but "cold" gives the impression of being once again a film that gently and with great craft relies on those feelings all too often used and abused by modern Japanese cinema for to grip the public. A great advantage is the lack of deification of the characters, who do not recite lines for effect, not grant pardon even spectacular pre-mortem and are all pretty ugly. Long and tearful, at times served as the onset of the death of a terminally ill and yet you leave the same look, like all films of its kind (one of which recently won an Academy Award), and sends a message very Important: Do not ever forget how fortunate we are, we value and love the most important person in our lives, the one who gave everything for love and make us live in the best manner possible.
東京 タワー 〜 オカン と ボク と, 时 々, オトン 〜 ( Tokyo Tawa: Okan To Boku To, Tokidoki, Oton - Tokyo Tower: Me, Mum and sometimes, father)
