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Eikura nana dating

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Anna was apparently willing to offer its full support for Hikaru, but in the unseen, Anna had a heart so torn apart for she had also kept secret of an unanswered love for Hikaru deep inside of her heart for so long.Meanwhile, Hikaru reunited with Kitayama, his friend from his college days, then Hikaru also discovers that Kitayama was dating So-Yeon.

Although the protags’ age difference might have lended itself to a more off-color depiction, pink-film veteran Ryuichi Hiroki avoids lurid May-September cliches: Steeped in the tranquil beauty of the Japanese countryside, and unabashedly nostalgic for traditional ways of courtship, the film is wholesome and mellow, but may leave viewers yearning for a more sensual touch.Hikaru works in a bookstore as a clerk, and is also an aspiring comic book writer.One day, he encountered a young, beautiful, world-renowned lightening designer named So-Yeon, as he fell in love in a blink of an eye. Hikaru asked his old friend Anna for a help, then he discovered that Anna is a workmate of So-Yeon.Still, it’s a beguiling, seamlessly executed package that should find decent exposure in Asian markets and audience-friendly festivals.Tsugumi (Nana Eikura, Hiroki’s “April Bride,” “Library Wars”) takes a sabbatical from her high-flying IT job in Tokyo to nurse her dying grandmother Towa (Chiaki Konno) in Tsurumi, a sleepy town in Kagoshima, in the southern prefecture of Kyushu.The four hearts keep on and off, connected and disconnected, move back and forth...

As there seemed to be a dead end, there came Devil Claus, Hikaru’s secret pal who can only be seen by him.

Most of the scenes are suffused with such relaxed grace, ambling along without anything significantly dramatic occurring for almost 90 minutes, until an erotic moment that will prove nirvana for foot fetishists. Tsugumi’s emotional entanglements, which prompted her self-imposed retreat, are obliquely hinted at during a weekend visit by her bosom friend Akimoto (Sakura Ando, wonderfully chilled).

An episode set in Kyoto discloses aspects of Kaieda’s past that shed some light on his atypical opinions and behavior, though his affair with Towa is never explored fully.

As a typical city girl, slender Eikura brings a swan-like poise to the role of a woman struggling with loneliness and low self-esteem.

Idol Osamu Mukai turns up too late as Nakagawa, a blast from Tsugumi’s past, to have much impact on the story.

By not stoking the odd-couple antics to a heady, comical level, Hiroki lets his winsome protags gradually settle into a cozy rhythm, synching with each other in mind and body, as when Tsugumi rides home with Kaieda on his bicycle after they’ve attended a summer fair together.