Spring, 1941. Sixteen-year-old Toshihiko attends school in the coastal town of Karatsu, where his aunt cares for his ailing cousin. Immersed in the seaside's nature and culture, Toshihiko soon befriends the town's other extraordinary adolescents as they all contend with the war's gravitational pull.

This is the question posited by director Nakamura Yutaro at the start of his latest film, a series of vignettes that bleed into each other. Memories? dreams? Whatever they are, they belong to highschooler Hikari who, along with a friend named Yujiro, get involved with an emotionally unstable man named Takaya. Flash-forward a decade or so and they are all 20-somethings bumbling around on New Year’s Eve night. Hikari has picked up an admirer, Kotaro, while Takaya is shacked up with a young woman named Anzu. A tumultuous night together leads to a quarrel and a truly bizarre New Year’s Day. It’s not a straightforward experience as we surf through these experiences and question whether they are imagined but the feeling of airy freedom and endless possibilities at the end is pleasant.

Shimada, a former Self-Defense Force member, suffers from severe PTSD following the loss of a comrade in a firefight in war-torn South Sudan, a tragedy covered up by the government. Shining a light into Shimada's solitary life in illegal arms manufacturing is a job as an apprentice at a traditional Japanese fireworks factory. There he begins crafting fireworks alongside the master artisan and fellow craftsmen who embrace fireworks that illuminate people's peaceful lives. Yet, parallel to Shimada's journey, his comrades-in-arms with unresolved feelings team up on radical acts to expose the government's cover-up, escalating tensions and pulling Shimada back into the darkness he thought he'd left behind.