Summer of 1957, August, Hiroshima. A French woman of about thirty was in the city.She's here to take part in a film about peace, in which she plays a part. The story happened on the eve of the return of the French woman.The film in which she plays the part is actually nearly complete.Only one set of shots remained to be shot. On the eve of her return to France, the French woman whose name is never mentioned in the film - the anonymous woman - will meet a Japanese (engineer or architect) and a fleeting love affair will develop between them. How they meet in the film is not clear.Because the problem is not here.There are random encounters everywhere in the world.What matters is what happens after these frequent encounters.

At the beginning of the film, the audience does not see the meeting pair.Can't see her.Can't see him either.What I saw were mutilated bodies—cut off at the waist—wriggling—writhing in the flames of desire or in dying struggles—covered successively with ashes, dew, The death haze of the atomic bomb—and the sweat of sated lust. Their bodies emerge only gradually from these unformed, hazy bodies. They were both lying in a hotel room.They were naked.Smooth body, intact. what are they talking aboutIt was talking about Hiroshima. She told him she had seen everything in Hiroshima.The audience sees what she sees.The sights were horrific.However, his opinion was negative that the sights were deceiving, and he repeated objectively and embarrassingly that she had seen nothing in Hiroshima.

The subject of their first conversation was allegorical.In short, it's an operatic conversation.It is impossible to talk about Hiroshima.All one can do is talk about the impossibility of talking about Hiroshima.The understanding of Hiroshima is raised at the beginning of the film as a similar hallucination in the head. This beginning, this series of official events in Hiroshima to commemorate the tragedy recalled in a hotel bed, this profane reminiscence, was deliberately arranged.People can talk about Hiroshima everywhere, even between men and women who meet by chance and fall in love at first sight, in the bed of the hotel where their affair took place.The bodies of the two heroes and heroines who are really in love in the film remind us of this.If there was ever a sacrilege, the real sacrilege, it was Hiroshima itself.There is no need to be hypocritical and avoid the essence of the problem.

Although there are few historical sites in Hiroshima shown to the audience, just a pitiful remnant of an empty and empty ruins, the audience must be freed from this reminiscence, eliminate prejudice, and prepare to listen to what is about to be told. The story they tell about our two protagonists. OK, so back to their story. A bland story.This kind of story happens every day, tens of thousands, emerge in endlessly.Japanese men are married and have children.The French woman is also married and has two children.They had a good night. But where?in Hiroshima. This kind of hug is so ordinary, so ordinary, but it happened in the most unimaginable city in the world: Hiroshima.In Hiroshima, nothing is "known".A special aura shines through every gesture, every word, giving it a more than literal meaning.This is one of the main intentions of the film, which breaks away from the use of horror to describe horror, which has already been used by the Japanese, and instead regenerates this horror from the ashes of the disaster and integrates it with a A love that must be unique and "amazing".However, if the film had been shot anywhere else in the world, somewhere that had not suffered such a horrific death, the effect would have been different, and audiences would have been more convinced that the film was shot in Hiroshima.