![]() ![]() But rather than aiming for Chatillez’s savage social satire, the class differences here are merely a natural extension of the two couples’ respectively uptight and easygoing personalities. This gives rise to some gently ironic contrasts between the bourgeois Nonomiyas’ elegant but finicky lifestyle and the Saikis’ unkempt, anything-goes existence. ![]() The two families arrange gatherings for their children to mingle, and begin a trial system of exchanging the boys on weekends. Not that he doesn’t love his docile, mousy wife, Midori (Machiko Ono), or Keita, for whom he has planned a successful future and a rigid, demanding activity sheet to help get him there.īut the Nonomiyas’ lives are turned upside down when they learn that the hospital where Midori gave birth mistakenly switched infants, so Keita actually belongs to suburban appliance storeowners Yudai and Yukari Saiki (Lily Franky and Yoko Maki) Saiki, who have unwittingly raised the Nonomiyas’ son, Ryusei (Hwang Sho-gen), as their own. ![]() One finds out later that it was a lie drilled into the boy in preparation for the interview, and that Ryota is a driven architect who never spends time with his family. The film begins with a stiff, decorous school entrance interview, during which well-groomed 6-year-old Keita (Keita Ninomiya) relates how his father, Ryota Nonomiya (Masaharu Fukuyama), taught him to fly a kite on a family camping trip. ![]()
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