This film is basically in three parts. After what I would call a prologue that
poses a question of why a male photographer would adopt a woman's
name, the first part takes place in Tokyo. The tone is generally that of a
bittersweet romance. Hirosue, considerably more mature than in she has
been hitherto, gives a most winning performance radiating charm and wit, as
well as compassion and devotion. On the other hand, Matsuda's beautiful
face is not quite sufficient to redeem the character that is sadly common: a
man who cannot handle a woman more successful than himself. Despite her
very touching manifestation that she originally took up photography only to be
able to share his world, the relationship grinds to a temporary halt, with her
going to New York to seek her fortune, but not before making him promise to
look her up when he has proved himself by becoming a professional
photographer.

The second part starts with his trip to New York, three years later, to unravel
a mystery after receiving news that she has been killed and also a letter from
her announcing her upcoming photography show. The tone here takes a
rather abrupt turn, and the film becomes something that resembles a noire
comedy. Via his search, the audience is led through various elements:
multiculturalism, post-911 sentiments, as well as both the beautiful and the
ugly side of The Big Apple.

The last part of the film, by comparison, has least to offer, as it deteriorates
into something of a run-of-the-mill crime suspense. The prologue however
is redeeming. Using the earlier motif of the mandarin
orange, the focus is brought back to a more spiritual level. The scene is
markedly reminiscent of Hirosue's other movie Poppoya