desolation enclosed by palm trees. the love-turned-desperation aura present throughout the first installment of shimizu's nanatsu no umi culminates in a very specific kind of bitterness-driven emotional hangover. floating bodies moved by resentfulness amidst a scenery heavily relied on nature. it's almost like the scarce city lights illuminating ayako's face in a shadowy winter night and the wary drops of snowflakes falling down on momoyo's small body are as essential to the film as the gloomy eyes that constantly fill the screen.
the dynamics of shimizu's melodramatic body of work are fully in display here: opressive foggy streets and long night-walks that slowly build into complete emotional chaos. the sense of loneliness shaped here emphasizes every single moment of affection between mother and son, every embrace holds the weight of the world. one can easily compare this to early ozu but the inevitability of chaos that is built here through nothing but shimizu's perfect control of space is quite unique.