The incinerator of a waste treatment facility, where a fire blazes fiercely behind a circular window. The sound of a government official’s voice over the radio announces that the name of the era is changing. A nameless protagonist whose coworker delves into mountains of garbage. A boss abusive towards his subordinates. A bus driver asking where he should go. A woman who has lost her mother. Unable to ask for help and or to help themselves, everyone is going through their own madness.

Accompanied by his friend Miyata, Sano returns to Izu, a seaside resort in Japan where five years before he fell in love with his wife Nagi.

Haru is living a disintegrated married life with her then high school teacher, Yuichiro. After Yuichiro's sudden death, Haru meets his mistress, Shiori, who was also one of his students. Fueled by jealousy, unexpected events begin...

Shiori, Yukiko, Kyoko and Sachiko continue to live each day with untold feelings inside. Unable to forget a colleague on a trip, a father who is ill, a friend who works at a store that is about to close, and a long-lost husband, each woman takes a step forward. There is a light that sometimes embraces them, calmly and gently.

Aki and Naoko are childhood friends who are drifting apart as adults. Immersed in her family life, Naoko now has a husband and daughter; Aki, on the other hand, remains single and is on leave from work due to a personal crisis. The plot might sound familiar but it has never been told like this. The director Kusano Natsuka stages the interactions through an actors’ table-read and, as the lines are repeated, the scenes gradually develop into on-location conversations. Moreover, she repositions the dramatic peak of the story to the beginning: Aki has murdered Naoko’s daughter.

Itchan and her older sister Satchan go to the house of their grandmother, who is currently in a nursing home. They start cleaning the house in preparation for its renovation, but gradually the two discover the subtle gulf that lies between them.