Seriously, I fail to see the reason for the drawn out editing for so many scenes.
Getting behind the wheel of his outdated, two-door model is ritualistic in its importance.
The filmmaking style is flat and straightforward.
And in a sense it does, since that audio accompanies the driver like a sonic ghost mile after mile.
There, he meets Misaki Watari Toko Miura , a taciturn young woman assigned by the festival to chauffeur him in his beloved red Saab 900.
It's a rare filmmaker who can take a theatrical stage or the inside of a car — and turn them both into spaces of profound human connection.