⑴ 怎么用英语介绍日本电影《情书》求助。。
Japan" image author" in Shunji Iwai's classic movie. The movie narrated a letter was sent to the kingdom of heaven out of grief and love letters, but big surprise received the namesake reply, and graally digging out a deep for many years but always silent pure unrequited love, after the case is entirely cleared. The past and present love winding out a beautiful love love love. " Love letter" is inspired by the Lingmuqingshun1959 self-titled video" Love Letter". Shunji Iwai thought that memories are pushing yourself a better man. Most people think that the past is the past, now is now, they are no relation. A time, remember the past, we will find some past and present involvement, in turn influence of their own now.
日本“映像作家”岩井俊二所导演的经典电影。电影叙述一封原本出于哀思而寄往天国的情书，却大出意料收到同名同姓的回信，并且逐渐挖掘出一段深埋多年却始终沉静的纯真单恋，真相大白之后前尘往事与今时爱恋缠绕出了一段痴情凄美的挚爱情深。《情书》的灵感来自铃木清顺1959年的同名短片《Love Letter》。岩井俊二认为回忆是推动自己的一大原动力。一般人以为过去是过去，现在是现在，两者互无关系。某个时机，回忆起过去的事情，自然会发现一些过去与现在的连带关系，反过来影响了现在的自己。
⑵ 寻求咒怨电影的英文介绍
Ju-on: The Grudge (呪怨 ,Juon?) is a 2003 Japanese "J-Horror" film, written and directed by Takashi Shimizu. The film is the third entry in the Ju-on series and is the first film theatrically released (the first two entries were direct to video proctions). The film was released in Japan on January 25, 2003 and has spawned several sequels and an American remake titled The Grudge which was released in 2004.
It is said in Japan that when someone dies in extreme sorrow or rage, the emotion remains and can leave a stain upon that place. Death becomes a part of that place, killing everything it touches.Once it sees you, it never lets go.
下面是人物的分别介绍
Rika (理佳 ?)
Rika is a volunteer social worker charged with caring for Tokunaga Sachie, a catatonic elderly lady. She discovers the quiet suburban home in a state of disarray and her ward malnourished and soiled, with no one else home. While vacuuming she finds a family picture with the wife's face cut out. Upstairs she hears shuffling noises coming from the bedroom closet, which has been taped shut. Rika removes the tape and opens the door when she hears meowing sounds. Inside the closet she discovers a black cat and a young boy whom she recognizes from the photo. She calls the welfare center to report the incident. She hangs up and is startled to see the boy staring down at her from the upstairs balcony. She asks his name. "Toshio," is his reply. Murmuring from Sachie's room draws Rika's attention. Rika attempts to calm Sachie, but is frightened by the sudden appearance of a dark shadow descending upon them. A pair of eyes appear within the shadow, which open and stare directly at Rika, who then faints. Toshio is seen standing over her.
[edit] Katsuya (胜也 ?)
Kazumi, Katsuya's wife and Sachie's daughter-in-law, cannot sleep at night because of what she presumes to be Sachie's restless stirring. Kazumi reminds her husband as he leaves for work that his sister, Hitomi, is expected for dinner. She falls asleep on the couch and is startled awake. At first she assumes that it was Sachie, but soon sees a pair of fresh handprints on the door. She discovers a black cat on the stairs. When she approaches, a pair of small pale arms reach out and take the cat, which scares Kazumi.
Katsuya comes home to find his wife lying on the bed unable to move or speak. As he goes for the phone, he senses another presence in the room and soon encounters the boy, Toshio. Katsuya asks who he is, but gets no reply as the closet doors begin to shake and his wife's condition worsens.
Hitomi arrives for dinner only to find her brother sitting on the stairs behaving strangely and muttering something about a child that isn't his. She asks about Kazumi, but Katsuya will not say what became of her. Katsuya pushes Hitomi outside and tells her to go home.
[edit] Hitomi (仁美 ?)
Hitomi is one of the last people to leave the office building. She unsuccessfully attempts to call her brother on her way out. On her way out, she hears strange shuffling sounds in the corridor, which seem to be coming from behind her. Slightly unnerved, Hitomi stops in the ladies room, where her phone rings and identifies the caller as her brother. When she answers, a terrible death rattle sounds is heard coming from the mobile phone. In the stall next to her a provoking banging begins, Hitomi apologizes and hangs up the phone. A small teddy bear ornament falls from her purse as she begins to leave the bathroom. As Hitomi reaches for it the next door stall opens and an ethereal curtain of black hair moves ominously toward her making the same death rattle noise she heard ring the mobile phone call. Hitomi runs to the security office and asks a security guard to investigate. She observes him, via a surveillance monitor in the security office, as he goes stops at the bathroom door the video camera footage begins to pick up little interference and a dark shadow emerges from under the door guiding the security guard into the room. Hitomi makes a hasty retreat to her apartment. At her home the phone rings and it ends up being her "brother" claiming to have forgotten the apartment number. Hitomi tells him the number, which is several stories up, and buzzes him into the building. Before she could hang up the phone her doorbell rings. She looks through the peephole and it's her "brother". She opens the door to nothing but an empty hallway, the death rattle sound comes loudly from the phone still in her hand. Hitomi quickly throws the phone on the hallway floor and heads back into her apartment, turns on the television, and cowers under the covers of her bed. The news is on but while the reporter is reporting the television picture and audio become distorted, the face warps into a phantom like image and the audio emits the death rattle sound and the television shuts itself off. Petrified, she continues to hide in her bed. Shortly after, she feels something strange in the bed and pulls it out, it's the teddy bear ornament that fell from her purse back at work. A human-shaped lump manifests from beneath the covers at the far end of the bed. Hitomi lifts the sheet to see the female ghost, who quickly pulls Hitomi towards her. A full shot of the room is seen and both the ghost and Hitomi are now gone.
[edit] Toyama (远山 ?)
When Rika does not return to the care center, her boss, Hirohashi, goes to the house to check on her. He finds Sachie dead and Rika in a state of shock. Detectives attempt to locate Katsuya by calling his cell phone. They hear ringing coming from upstairs and track the sound to the attic. There they find the bodies of the young couple living there, Katsuya and Kazumi. They also find out that every family that had lived in the house either died or disappeared. During the investigation, Hirohashi is found dead, and Hitomi is missing. The investigators turn to another detective, Toyama, for answers. Toyama was assigned to the case of a man, Takeo Saeki who had murdered his wife, Kayako, and child, Toshio, in that house years before. Toyama watches the security tape of Hitomi's office building and sees the security guard being consumed by a shadow and Kayako looking directly at the security camera. Convinced that the house is responsible for the rash of disappearances, Toyama goes there with gasoline, intent on burning it to the ground. He has a daughter, Izumi, who was about twelve years old. While inside he experiences a vision of her as a teenager. He is then attacked by Kayako. He manages to escape the house, but the two investigators who came to look for him are not so fortunate.
[edit] Izumi (いづみ ?)
Several years later Izumi is a teenager and her father, Toyama, long since dead - another Ju-on casualty. As Izumi and two friends walk to school, she notices a missing persons poster featuring three of her friends. She was with them the day they disappeared from a house that was rumored to be haunted. Izumi feels guilty because she ran from the house in fear, leaving the others to their fate. At school the girls notice that there are no photos of Izumi from a recent event and complain to their teacher about it.
Izumi's state of mind has been deteriorating since the day they went to that house. She keeps the curtains closed, covers her head with a hood, and clutches a pillow. Her friends visit and are disturbed by Izumi's condition and the strange behavior of her mother. One friend draws the curtain to reveal that the windows are covered with newspaper. Izumi tells them the ghosts of her three missing friends are stalking her, peering at her through the windows. As her friends leave, Izumi's mother tells them her father had exhibited the same behavior before he died.
The girls remember the photos they brought to show Izumi. They understand why the teacher had not posted any photos of Izumi. In every photo, Izumi's eyes were eerily blackened out - as were the eyes of her three missing friends.
Back in her bedroom, Izumi is having a vision of her father. She suddenly wakes to find a scrap of newspaper on the bed and moves quickly to return it to the window. When she pulls the curtain, she sees her three missing friends, pale and grey, staring at her through the gaps in the newspaper. Terrified, she runs from her room, but the ghosts of her friends are in hot pursuit. Izumi runs into a room and attempts to block the doorway, but this does not deter the ghosts. Izumi, in a panic, backs away - right up against the Shinto altar in her house. Suddenly, ghostly hands, belonging to Kayako, emerge from the altar. Kayako proceeds to drag Izumi, kicking and screaming, into the altar as the ghosts of her three friends continue to approach. As the camera zooms in to the altar, the faces of Izumi and her father materialise in the darkness. In the bonus material of the DVD Shimizu explains that he intended on including the same effect happening between the shelves in the room revealing the faces of the three friends, but this idea was dropped because he thought it would either be ridiculed or take away the focus of Izumi's death and place it on the entire group.
Before her death it is made quite clear this takes place years in the future, not only because there is a scene with her father and her as a child, but not long before she dies her mother is watching the news. The report is on the discovery of Rika's dead body.
It is also theorized that she is an unmentioned character in the last vignette of Ju-On: The Curse 2 (the sequel to the telemovie) because it is titled "Saori," who is the name of one of her friends who disappeared in the Saeki house. Saori was the "ringleader" of the group.
[edit] Kayako (伽椰子 ?)
Rika has more or less recovered from the trauma of her experience in the house. She arranges to meet an old friend, Mariko, for lunch. An old man plays peek-a-boo with an unseen person just outside the care center where she still works. Another worker, assuming the man is feeble-minded, tries to join in the game and is rebuffed. The old man resumes his game with his unseen playmate, a sight which makes Rika uneasy. Toshio's reflection is visible in the glass, revealing the identity of the unseen playmate.
While having lunch with Mariko, Rika sees Toshio under the table, panics, and rushes out. Later Rika receives a call from Mariko, concerned over what had happened at lunch. Mariko tells Rika that she is on a home visit for a student who has not been to school. The student's name is Toshio.
Rika quickly realizes that Mariko is in the cursed house. She hurries there, but too late to help as Rika sees Mariko being dragged up into the attic (in the same fashion as Yoko was pulled up in The Grudge US remake). Rika briefly follows Mariko's path and sees Kayako crawling towards her. Rika panics and runs down the stairs to the door, but she runs past a mirror and sees an unfamiliar reflection where her own should be. She covers her face with her hands in the same way that the old man playing peek-a-boo did. Doing so reveals Kayako in the mirror, staring back at her through her fingers. After a frightening vision of Kayako emerging from her chest, Rika hears thumping noises overhead, and realizes that something is coming slowly down the stairs toward her. The ghost of Kayako, the murdered wife, inside a blood-soaked plastic bag is crawling toward her, long black hair covering her face. She seems to be reaching out for help. Rika covers her face with her hands again, and, to her horror, sees herself as Kayako (it is commonly mistaken that she is actually seeing Kayako without the blood, but this is not the case). It is then that Rika comes to the terrible realisation that she is destined to play out the curse.
After this revelation, Kayako disappears. More noises come from the stairs. Rika looks up to see a ghost of a blood-covered Takeo, slowly descending the stairs. As Rika screams, Takeo reaches for her and kills her off-screen (in a deleted scene, her death is shown in more detail - she is killed in exactly the same way as Kayako was).
The scene then fades to shots of the streets - abandoned and littered with 'missing' posters. The body of Rika is then seen, wrapped in a plastic bag, inside the attic. As the camera zooms in on her face, her eyes open and the now-familiar croaking sound like Kayako.
This chapter is presumably set years later, perhaps in the same timeline as the "Izumi" chapter, as evidenced by the news report in that chapter.
⑶ 求日本电影《脑男》英文介绍,关于主要内容的
In a small town in Japan, a series of seemingly random explosion cases occur. Ichiro Suzuki knowns as "Brain Man" is fingered as an accomplice. Midorikawa works on the explosion case.
The mysterious man known as "Brain Man" has outstanding memory, high intelligence and a perfect body, but doesn't seem to have human emotions. Neurosurgeon Mariko Washiya (Yasuko Matsuyuki), who has her own personal trauma, believes that human nature is fundamentally good and tries to save criminals. She then becomes interested in Brain Man and works to uncover the truth. Meanwhile, Detective Chaya (Yosuke Eguchi) tracks down Brain Man.
资料来源：Asianwiki
⑷ 日本电影经典推荐 日本电影介绍
1、《雨月物语》：权利与财富是男权社会里男子身上背负的两座山，这样的故事是太多文艺作品的主题，内容也就没有太出奇之处。亮点是影片集合了日本战后电影在气氛营造、音乐运用、群戏与多人戏的场面调度的优点，算是一部酣畅淋漓的聊斋故事。
2、《大逃杀》：用极端的方式，表现和探讨人与人之间的关系，人与社会的关系，充分沟通和完全信赖总是那么难，轻易间产生隔阂和作出伤害又是那么容易，谁又能明白谁的意思，谁又知道该对谁说些什么？没有答案，这个纷繁复杂的社会也不可能作出解答。
3、《告白》：初开始时并不觉得有多动人，只是被故事吸引了下去。这大约就是日本电影，总是后发力。直到结局呈现出来，俨然不愿意就这样被结束。之于内容，我有了一副无话可说的姿态。从一只蝴蝶开始，电影的剪辑便渐渐地显山露水。日本国继承中华民族的传统文化更为彻底嘛，多么谦虚的一个民族。
⑸ 日本电影
《大逃杀》（英语：Battle Royale；日语：バトル・ロワイアル；罗马拼音：Batoru Rowaiaru)是改编自日本小说家高见广春原作的同名电影，包括《大逃杀I：东京圣战》（2000年）和《大逃杀II：镇魂歌》（2003年），导演分别为深作欣二及其子深作健太。该作品亦被改编为同名漫画、网页游戏及纸牌游戏。
大逃杀英文名Battle Royale的意思：指的是在美国摔跤界中的WWE（世界职业摔跤）多人对战，在这种比赛模式中，将会有不定数的选手参战，直到最后一名没被击倒的选手，即为比赛中的冠军。作者藉此暗示书中的42名学生为了生存，必须战斗到只剩自己一人的心情。（小说故事中，从头到尾都没有出现BR这段词汇，只有这项游戏的名称「计划」。）
[编辑本段]剧情梗概
已经饱和的世界经济给亚洲各国带来了空前的经济萧条。新世纪伊始，有一个国家彻底崩溃了，完全失业率超过了15%，一千万失业者遍及全国各地。失去了生存自信的人们开始威胁天真无邪的孩子们。全国有80万儿童、学生拒绝上学。学校内的教师又遭受到学生的暴力行为，殉职者人数高达1200人。就在这个时候，一部新的法律出台了。
BR法案是《新世纪教育改革法》的通称。所谓BR法案，就是为了解消公民对学校的崩溃、对卑劣少年的恶性犯罪引起的愤恨；为了培养青少年们在逆境中排除各种困难，并由此获得坚韧不拔的生存能力；使青少年们从大人们手里夺回原本就属于他们的权利。
从全国的初中3年级中，每年随机地选出一个班级，并把学生们送往受行动范围限制的、荒无人烟的地方。发给每个学生地图、粮食、各种各样的武器，让他们自相残杀，直到只留下最后一个为止。时间限度为3天。学生们必须佩戴违反规定即自行爆炸的特殊项圈。在此期间的学生杀人、致人伤害、持带枪械等违法行为都不受法律限制。这就影片所有血腥残暴的由来。
精致的弹簧刀穿过了一个好争论的女孩的前额，下一个死去的是七原的挚友但却不讨老师喜欢的男生，一颗绑在他脖子上的炸弹把他的脑袋炸开了花。其他学生则用弓和箭、鹤嘴锄和大镰刀互相屠杀。
影片最后，当幸存下来的三个学生与北野武正面交谈的时候，一个滑稽的超现实段落出现了：北野武明明有真枪，却用水枪诱使三个人杀了他，在中弹死去之后，还翻起身接了最后一个女儿的电话才正式死去。这个布努埃尔式的场面似乎有两方面的含义：一是直接指出成人精神世界的空虚腐朽，警诫所有即将走向成年的孩子们；第二则是象征（不如说是希望）老一代成年人在少年世界的退出。成年人已经自顾不暇，只有靠下一代自己的努力了。所以才有了影片充满朝气和希望的结尾：七原和中川逃出了各自的家庭，走上了纯洁独立的人生道路，奔向成年。在最后，
大逃杀II：镇魂歌
外文片名：
BatorurowaiaruII:Rekuiemu(2003)(USA)
Battle Royale II: Requiem .....(literal English title)
导演：
深作健太 Kenta Fukasaku
深作欣二 Kinji Fukasaku
编剧：
深作健太 Kenta Fukasaku
木田纪生 Norio Kida
高见广春 Koushun Takami .....characters
影片类型：动作 / 剧情
片长：Japan:134 min / Japan:155 min (director's cut)
国家/地区：日本
对白语言：日语
色彩：彩色
级别：Finland:K-18 Iceland:16 Japan:R-15 UK:18 Germany:18 Australia:R New Zealand:R18 South Korea:15
主演：
七原秋也 Nanahara Shuya （藤原龙也 Fujiwara Tatsuya）
中川典子 Nakagawa Noriko （前田亚季 Maeda Aki）（客串）
北野武 Kitano Taheshi —— 北野老师 Kitano（客串）
真木洋子——电脑天才旱田真希
加藤夏希——狙击手樱井早纪， 樱井晴哉之姐
千叶真一——三村真树雄，信史的叔叔
石垣佑磨——战士左海贡
柳泽贵彦——战士土岐士郎
风间由次郎——战士真田幸太
西川佑也——战士西 浩介
小泽佑果——战士忍
岩村爱——恐怖分子少女舞
利根川铃华——恐怖分子少女敬
今野雅人——恐怖分子少年仁
浜田麻希——恐怖分子少女千鹤
竹内力—— 教师RIKI
中井出健——蝶野二曹
仁科 贵——间宫三曹
龙川 刚——安城一尉
谷口高史——迫水二尉
中野裕斗——德川三尉
山村美智子——记者小姐
津川雅彦——总理大臣
[编辑本段]剧情梗概
故事发生在前作三年之后。作为大逃杀幸存者的七原秋也此时正领导着一个由历届大逃杀幸存者组成的反抗《BR法》的恐怖组织，并在首都进行了爆炸行动。为此，政府出台《新世纪反恐怖法案》，通称《BRII》。
这样的背景之下，某天，汇集了来自全国各地的不良少年，以及逃课问题生的鹿之砦中学校的3年B组42名孩子，在圣诞节休学旅行通往滑雪学校的路途中，沦为了军队的劫持目标，被全员绑架到了一座孤岛之上。当他们被勒令换上军服，并押送集合至一个巨大军营之内时，他们的指导教师RIKI却出现了。“整个班级无一人例外，将成为本次BRⅡ的参加者”，RIKI向已经陷入混乱的学生们，公布了绑架理由，并说明了BRⅡ的游戏规则。
依照《BRII》这部法案，一个班的中学生被强行组成突击队，在颈环的逼迫下向七原所在的海岛发动进攻。在这队中学生中，有一名女生是自愿来参加的。她就是前作中被七原杀死的北野老师的女儿北野诗织（前田爱饰）。在惨重的死伤后，幸存的队员们在七原等人的帮助下摆脱了颈环的恐怖控制，并停止了战斗。然而更大的危险正在逼近。政府出动了正规部队对海岛发起进攻，甚至动用了巡航导弹。与此同时，北野诗织仍在寻找父亲留下的画中的意义……
⑹ 用英文介绍一部英文电影，加翻译
《忠犬八公的故事》该片当年曾在日本引起轰动，电影的原型为1924年秋田犬八公被它的主人上野秀三郎带到东京。每天早上，八公都在家门口目送着上野秀三郎出门上班，然后傍晚时分便到附近的涩谷火车站迎接他下班回家。一天晚上，上野秀三郎并没有如常般回到家中，他在大学里突然中风，抢救无效死了，再也没有回到那个火车站，可是八公依然忠实地等着他。
"Dog story" the film was in Japan caused a sensation, the prototype of the film Akita Inuyako in 1924 by its ownerUeno Xiumiro to tokyo. Every morning, eight mr.s are at home watching Ueno Xiumiro go to work, and then in the evening went to the vicinity of the Shibuya train station to meet him back home. One night, Ueno Xiumiro and not as usual as home, he had a stroke in the University, rescue invalid died, and never returned to the train station, butHachi still faithfully waiting for him.
《当幸福来敲门》成功诠释出一位濒临破产、老婆离家的落魄业务员，如何刻苦耐劳的善尽单亲责任，奋发向上成为股市交易员，最后成为知名的金融投资家的励志故事。
"When happiness to knock" out of a successful interpretation on the verge of bankruptcy, wife leaveabjection salesman instriousness and stamina, howgood as single responsibility, to make progress as stock traders, and eventually become famous financial invester
⑺ 请介绍一下日本影片《东京物语》
中文名称：东京物语
英文名称：Tokyo Story
别名：Tokyo Monogatari
资源类型：DVDRip
发行时间：1953年
电影导演：小津安二郎 (Yasujiro Ozu)
电影演员：
笠智众 (Chishu Ryu) ...... Shukishi Hirayama
Chieko Higashiyama ...... Tomi Hirayama
原节子 (Setsuko Hara) ...... Noriko
杉村春子 (Haruko Sugimura) ...... Shige Kaneko
Sô Yamamura ...... Same per
三宅邦子 (Kuniko Mi
剧情简介
《东京物语》被普遍认为是小津安二郎漫长职业生涯中所拍摄的最为优秀的电影，同时也是那些经典艺术电影中的翘楚，也是小津安二郎战后最感人的影片。
《东京物语》讲述一个大家庭中两代人的故事。亲情与疏离，挚爱与义务，死亡与孤独，在一桩桩观众再也熟悉不过的平常小事中缓缓铺展开来。这是一个普通日本家庭的故事，但也是所有家庭的故事，无论你我他，都有可能在片中找到自己的位置。电影由平山周吉老夫妇站在月台对话拉开序幕，这对老夫妇欲前往东京与其他子女相聚。途中经大阪时，与在国铁服务的三男敬三相见后，直达东京长男幸一家中，两三天后，老夫妻因无聊而移往经营美容院的长女志子家中，但志子十分吝啬，只有已故二儿子的媳妇纪子给予了二老热情的接侍。由于与老友喝酒受到女儿责难，周吉一气之下回乡。周吉老太太不多久即因脑溢血病逝。最后与纪子语重心长的话别，使整部电影即在这满盈感动与温馨的画面中结束。在这部电影中，小津简约的影像风格近乎完美，一切都是那么自然，电影的制作者既不需要煽情，也毋须告诉观众谁对谁错，因为生活本来就是这个样子的。或许导演唯一的倾向，是电影中那种不失温婉的讽喻，但决不是义正词严的批判，因为小津并不相信有什么一劳永逸的解决方法，他不仅要表现生活本来的面貌，他还要我们接受人性并非完美这一事实。
《东京物语》是小津自己最喜爱的一部电影，但他却很少谈及。电影荣获《电影旬报》年度评选第二名之后，小津说："我想通过父母与子女的经历，去描写传统的日本家庭是如何分崩离析的。在我拍过的电影中，这一部最具通俗剧的特点。"。
没有大起大落的是影片情节，也没有爱恨情仇的繁琐纠葛。有的只是一丝淡淡的忧伤，而这忧伤也只是像一片秋叶的飘落过程。但更多的，我们感受到的是一种平实的温暖。它缓慢地，如此缓慢地渗入我们的内心，然后是许久地抚慰。这部1953年的黑白片是小津安二郎的早期代表作。作为一代电影宗师，小津给予我们的影象世界是完全生活化的。我不可割舍地爱着他的电影。小津一辈子只拍摄一个题材的电影，那就是家庭。固定的机位，严格的构图，平实的人物性格，永远不存在坏人的故事情节，流畅的叙事方式。这几乎就是他作品标志的全部。小津一身未娶，与母亲生活在一起直至她去世。我真的不明白为什么小津的电影会如此简单但又能如此深地打动我。我想，可能真的是一份平静中的温暖在慰籍着我，这个秋天果真是收获的，我在小津的电影里找到了最深厚的感动。这感动不会让我落泪，但会温暖我许久许久。
海报：http://www.grassy.org/art_ovsea/bill/bill/2p122b.jpg
⑻ 想要日本电影《情书》的英语简介及获奖记录，英语课要用，不要用翻译器翻译，谢谢，尽量长一点，优美一点
Love Letter is a 1995 Japanese film directed by Shunji Iwai, and starring Miho Nakayama. The main male roles were played by Etsushi Toyokawa as Akiba Shigeru and Takashi Kashiwabara as the male Itsuki Fujii.
Love Letter became a box-office hit in Japan and later in other east Asian countries, most notably South Korea where it was one of the first Japanese films to be shown in cinemas since World War II.
The story is about a love letter sent to her fiance in heaven out of sad memory.Surprisingly, she received a reply from someone with the same name. The correspondence continued. Graally a quietly buried pure unrequited love was uncovered. Then, remeniscence of the past and the love at present intertwined into a poignantly beautiful and passinately deep love.
The film had won:
1996 Japanese Academy Awards - Newcomer of the Year (Miki Sakai)
1996 Japanese Academy Awards - Newcomer of the Year (Takashi Kashiwabara)
1996 Japanese Academy Awards - Most Popular Performer (Etsushi Toyokawa)
1996 Blue Ribbon Awards - Best Actress (Miho Nakayama)
1996 Kinema Junpo Awards – Best Film (Shunji Iwai)
1995 Hochi Film Awards - Best Actress (Miho Nakayama)
1995 Hochi Film Awards - Best Supporting Actor (Etsushi Toyokawa)
1995 Toronto Film Festival - Audience Award