"Tokyo at the beginning of the 21st Century.

Mao feels very insecure these days. She works as an editor in a publishing house specializing on books on cinema, but every day she feels she doesn?t have enough knowledge and experiences in her job. Recently, another headache has been added to her already-not-so-wonderful life: wherever she goes, she finds the same young man who immediately starts following her.

Yushin, a university student, joins the publishing house as a part-time worker. He studies films and is very happy working here, feeling he has joined the ?film industry? (or the adult world), even though his actual job is in most parts, just maintaining the books in stock. But outside of the job, he is frustrated with his girlfriend who always behaves childishly and always comes late to their dates.

Kurumi works as a ?Queen? in a Sado-Masochistic club; a profession she took because she fest she enjoyed beating men, but recently she rarely takes pleasure in her work. Every weekend, she meets an old classmate from her hometown, Masato in a park, with whom she seems to find not attraction, but relaxed moments. Unlike Kurumi who earns her own living, Maato has continued his studies and now is a graduate student. But Kurumi innocently considers him an intellectual unlike herself, and a future university professor, that?s seems not to be exactly what Masato thinks of himself?

Atsushi always carries a Polaroid camera and takes photos at everywhere he goes; not of the places he visits, but of his own face?

In the extremely urbanized contemporary metropolis which is Tokyo, the lives of those young people start to cross mysteriously with each other, and each of them will experience unexpected turns of their lives?"

"This film was created as a ?collective improvisation? with non-actors. Each participant had only the character loosely based on him/herself, and the stories have developed as improvisations along the way of filming, reacting to each other as well as to the surrounding environments: the reality of Tokyo where even private spaces like apartments are constantly invaded by sounds and noises from the public space outside. Most scenes were carefully composed as continuous, uninterrupted sequence shots. The desire was to capture the atmosphere as a whole; as slices, or fragments, of our contemporary urbanized reality, and to observe how we cope (or very often we cannot) with it.

Toshi Fujiwara, Tokyo, Dec. 2005"

Fujiwara Toshi, born on July 23, 1970 in Yokohama, grew up in Tokyo and Paris. He studied film sciences at Waseda University, Tokyo, and at the faculty for film and television at the University of Southern California. Bevor making films himself he worked as a film critic. WE CAN?T GO HOME AGAIN is his first full-length feature.