I'd put this off for years out of fear it'd be a dutiful documentation project. These were (ultimately kind of no surprise) put to rest by Hamaguchi's and Sakai's palpable-if-not-pronounced formal strategies — set-ups where we know there previously wasn't a camera, cutting for emphasis on expressions in verbose exchanges, prominence of direct-address sequences.Above all else its rotation around people telling each other stories, whether rehearsed or off-the-cuff, cannily presages Happy Hour and Drive My Car. Eager to see the rest in this series.
