The first hour of the film essentially boils down to sequencing that’s clearly inspired by Chantal Akerman’s film, Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles. While Hirayama has certainly held and excelled at this job for a while, he seems deeply content. And although it may beckon the viewer to wonder just how he ended up in the position he finds himself in, more likely than not, it doesn’t really matter.
This fascination with the most ordinary daily rituals inevitably recalls Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles.