The film consists of a series of episodes in which Yoko wades into a lake to describe looking for a possibly mythical Uzbeki fish; proclaims the delicious crunchiness of under-cooked rice in a bowl of plov, a local dish; repeatedly takes nausea-inducing turns on a fun-park pendulum ride until her camera crew can get enough B-camera footage of her face; and tries to liberate a goat in captivity named Okoo only to learn that if she does, it will be eaten by wild dogs.

She runs away from the police, who eventually apprehend her but treat her kindly, especially when she learns that her firefighter boyfriend may have been involved in a massive oil refinery fire in Tokyo Bay, where he was stationed.

In a finale set in the mountains, her crew once again in pursuit of a likely mythical beast, she again sings Hymne à l'amour as she imagines that she has caught sight of Okoo running free in the distance.

[11] Mark Schilling of The Japan Times gave the film 3.5 out of 5 stars, describing it as "a uniquely Kurosawa mix of showbiz comedy, woman-in-jeopardy thriller and romantic drama with Maeda's lonely-but-intrepid heroine serving as the strong connecting thread.

"[12] Neil Young of The Hollywood Reporter wrote, "Officially endorsed international co-productions are usually stilted, self-consciously didactic affairs; the seasoned but adventurous hands of Kurosawa, however, here yield quietly immersive and spellbinding results.