As he reconnected with a past love, a man's journey through nostalgia was sparked, transporting him back to the vibrant era of the 1990s, where hope and passion burned bright.
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We Couldn't Become Adults does have end credit scenes.
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The narrative intricately weaves through the timelines of Makoto’s life, oscillating between the years 2020 and 1998, and meticulously explores his career alongside his past romantic encounters in an evocative manner.
The tale opens dramatically with Makoto tumbling into a heap of garbage on the dimly lit streets of Tokyo during a late-night escapade with a friend. In this encounter, his friend philosophically posits that only 1% of the world can claim true happiness due to their ignorance, which deeply resonates with Makoto and drives him to reflect on the trajectory of his life.
As the plot unfolds, we witness Makoto attending a farewell gala for an enduring television show, an event masterfully hosted by Mitsuo Oguro. Amidst mingling with acquaintances, he shares with a performer about his past role as a graphics designer for the show. Their connection leads to a fateful night spent together in Makoto’s hotel room.
The storyline skillfully shifts back to an earlier chapter when Makoto is in a strained relationship with Megumi Ishida. Their fleeting romance culminates in divorce, marked by a poignant scene where she collects her belongings. Among her possessions, Makoto stumbles upon a postcard depicting a serene sunset, a memento from an earlier love, which he decides to keep as a symbol of nostalgia.
Regrettably, Makoto’s thoughts drift towards various past relationships as he navigates through recollections of his life. One significant encounter takes place at his favorite haunt, run by Nanase, a crossdressing pub owner, where he meets Su. However, the evening takes a sobering turn when he discovers that Su is involved in prostitution.
As the film progresses, Makoto grapples with the weight of his experiences and failed romances. We see a striking juxtaposition of his career path transitioning from humble beginnings in a tiny office to a formidable presence in a larger establishment, yet it becomes evident that these advancements come at the cost of personal happiness, as late nights at work have perpetually overshadowed his relationships.
At a pivotal moment, he receives a Facebook friend request from Kaori, the ex-girlfriend who sent him the postcard. Upon investigating her profile, he learns she has settled into the life she once eschewed—married with children. This revelation hits hard as it becomes apparent that while he clung to her ideals, she had embraced the conventional life.
In a reflective delve into the past, the plot also revisits Makoto’s first love, a spirited girl passionate about music with a unique sense of style. Their youthful romance blossoms as Makoto works at a bakery, where his manager, Nanase, encourages him through a personal advertisement to find love. This serendipitous exchange leads him to a pen-pal relationship with a girl named Inu-cara, eventually leading to intimate moments spent together.
As the narrative progresses, their relationship is depicted, showcasing her free-spirited nature and resilient desire to avoid an ordinary life, in stark contrast to Makoto’s demanding job that consumes his time and passion. Ultimately, the strain results in her departure, leaving him in a cycle of unfulfilled potential.
Returning to the present, Makoto encounters Nanase once again, who finds himself struggling after his pub’s unfortunate closure. This encounter brings the film full circle as they reflect on their turbulent lives, culminating back at the scene where they both once found themselves on the ground. After a ride in a taxi, Makoto disembarks and wanders through the evocative streets adorned with memories of Kaori. The love hotel where they shared beautiful moments is now shut down, and as he revisits various poignant locations, he grapples profoundly with the sentiments surrounding his relationships and the ceaseless path to adulthood that constantly eluded him.
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