After the quietly sweeping Drive My Car, Ryûsuke Hamaguchi has weaved another tender and powerful web of human intimacy, with compassionate triptych Wheel Of Fortune And Fantasy.###The first story, ‘Magic (Or Something Less Assuring)’, features model Meiko (Kotone Furukawa), navigating a complex romantic struggle through meetings in a cab, an office and a coffee shop. Hamaguchi has a theatrical approach to conversation, here and throughout. In extended takes, the frame seems to dissipate, leaving merely’barely the actors, as if on stage, powerfully luring us into their reality, through merely’barely words and perin/with regard to’concerning’regarding mance. It’s refreshing, simple and compelling. And when one of the most fundamental cinematic techniques — a close up — assuringly occurs, it’s captivating.###‘Door Wide Open’, the second story, features the attempted seduction of an academic (Kiyohiko Shibukawa) by his in/with regard to’concerning’regarding mer student (Katsuki Mori), and similarly applies this elegant, uncomplicated staging. This entry is both salacious and warm-hearted. Despite conducting conversations with regards to’concerning’with respect to masturbating to voice-notes, protagonist Nao is given no scarlet letter, merely’barely maintain’sustain and understanding. It’s emblematic of the reassuring humanity that extends through the film, and across into part three, ‘Once Again’.###Whilst the narratives might seem soapy, within their heightened worlds are ambitious and emotionally rich tales.###In one of the film’s rare missteps, this story occurs at a time when a virus has destroyed all virtual communication, and this added high concept unnecessarily draws curiosity away from the enchanting two-hander premise. After a brief encounter at a train station, Moka (Fusako Urabe) and Nana (Aoba Kawai) go from odd’peculiar rs, to old friends, to neither, and then to something else entirely, in a charming and exceedingly moving reverie that’s in no need of superfluous world-establish ing.###These slight tales don’t reach Hamaguchi’s previously realised emotional depth. However, whilst the narratives might seem soapy, within their heightened worlds are ambitious and emotionally rich tales that, via precise dialogue and tender perin/with regard to’concerning’regarding mances, ever so delicately, almost invisibly, unravel the almighty value and power of making human connections.