It was well-received among critics due to its critique of sexism in Japan using the story of a young woman.

Meanwhile, Aina, a twenty-year-old hostess who works at a club, talks to her friend and see's Yukio after coming back from studying in Nagoya.

On a drive, Haruko told Yuji that Yoshizawa married a French foreigner from Burkina Faso.

Photos of a spray-painted missing poster of Haruko spread online and created a bunch of rumors.

Meanwhile, Masabu and Yukio were in a car and were interrupted by Aina, all three bought some supplies and at night they spray-painted a bunch of missing posters of Haruka all over the town.

After learning that vandalism can lead to three years in prison and a fine of 300,000 yen, and hearing that a bunch of high school girls attacked random men due to the missing poster, Yukio quits.

Masabu tried to talk to Aina who was waiting in a car outside, when he was beat up by the high school girl gangs.

At a store, a man told Haruko that Hitomi, her best friend, was cheating with his husband with Yuji.

Yukio and Aina argue in the car about whether they are why Masabu was beaten up by the high school girls' gang.

Masabu confessed to being the one who created the "Missing Girl Poster" and he was hired to help the city's art director for two weeks.

After seeing the two get famous, Aina becomes angry and smashes their displays then she meets Haruko and tells her that having a good life is the best revenge and proposes to her to disappear while still alive like she did.

Other cast members include Mitsuki Takahata, Huwie Ishizaki, in his film debut, Taiga, Shono Hayama, and Akiko Kikuchi.

[2] In an interview with Music Natalie, Matsui revealed that he chose Ishizaki to portray Soga because that it would be "more interesting" to have "someone who has the natural atmosphere" of someone living in the countryside.

[11] Takako Sunaga of Eiga.com praised Daigo Matsui for making it "a pop, light-hearted work with breadth and hope" instead of a "cruel story of women in the countryside".

[13] Jessica Kiang concluded that its portrayal of sexism and misogyny in the Japanese work culture is can "be pop-art, edgy social critique, and a strangely moving prayer for all the gone girls.