Youth is perhaps the period most remembered for "could have beens". This film, which extends from the quiet streets of Taiwan to the remote corners of Japan, goes after that feeling of "could have been". The lonely journey to Japan of a Taiwanese game developer who has just lost his job actually turns into an inner journey into the depths of time. Two young lives intersected briefly years ago; A Taiwanese child and a Japanese backpacker left behind traces of an emotion that could never fully turn into a flower. The film establishes its emotional intensity not with great dramatic explosions, but with the fragility of everyday moments. Nostalgia works here not as a sentimental tool, but as a way for the characters to confront themselves. The transitions between scenes from the past and today's sadness sometimes remind the audience of their own forgotten moments. The production, shaped under the direction of Michihito Fujii, not only is a Taiwanese-Japanese co-production, but also bridges the emotional language of the two cultures. The lead role of Greg Hsu and Kaya Kiyohara presents the on-screen chemistry in a simple yet impressive framework. The project, which came to life with the production of Chang Chen, relies on the narrative power of silence rather than taking refuge in the noise of big-budget productions. It offers a sincere and lyrical experience for those who are kidnapped in the middle of their youth and wonder about making peace with them years later.