It deals with the contemporary Zengakuren opposition but also evokes the 1950 protests against the Anpo treaty; this political content is related to the particular approach of memory and interpersonal dynamics of social movements in the film.

[1] In 1960, in the aftermath of the Anpo Protests against the US-Japan Security Treaty, uninvited guests interrupt the wedding ceremony between Nozawa, a journalist and former student radical of the 1950s, and Reiko, a current activist.

They accuse the couple and assembled guests of forgetting their political commitments, invoking a tortured exploration of unresolved conflicts of a decade ago, when they were swept up in the student demonstrations.

[2][3] Three days after it was released, the film was abruptly pulled by the studio in the wake of Japanese Socialist Party politician Inejiro Asanuma's assassination by far right student Otoya Yamaguchi.

Although the marriage of Nozawa and Reiko seems to suggest the possibility of reconciliation,[7] Nakayama looms large as the imposition of forced forgetting and the denial of reflection in favor of Party orthodoxy.

Spatial restriction, lighting, color, and gesture figure in it, but most importantly it is the way spoken lines and confrontations are ordered by camera movement and shot, so that "the cinema becomes a device for redefining theatrical language.