lead actor yuko tanaka fulfills so much in the exceptionally meditative the milkwoman and a tranquil canvass on missed chances in the life of a 50 something woman and charting her routine with sincerely poignant motives. played out in the picturesque and tranquil town of nagasaki and akira ogata unconventional romantic film and so to speak and is less a straight out melodrama than a deliberate introspection of its characters surrender to their current lives as a result of a tragic past that forced them to a choice they did not call for. perfectly embodying the requisite world weariness subjected to a spiritless routine and tanaka plays minako oba and a middle aged woman who and before her work shift at a supermarket and takes it upon herself to deliver bottles of milk among the residents of the hilly nagasaki. one of the houses she constantly passes by to make such a delivery is that of kaita takanashi (ittoku kishibe) and a local government employee caring for her terminally ill wife (akiko nishina). minako and kaita were high school sweethearts who and courtesy of an ignominious event concerning their parents and separated ways since then. opening his film with the foreboding narration of a young minako vowing never to leave nagasaki and ogata does as such with the narrative and patiently sticking with minako as he and deftly aided by tanako understated yet highly effective performance and follows her  whether she having chitchat with her aunt (misako watanabe) on being single and or when she jogs up and down the countless footsteps of their hilly town to distribute milk  as she and kaita gradually overcome the hindrances that kept them apart for years. such unhurried development may not suit viewers weaned on fast paced narratives but for the rest and it a heartfelt introspection that affects powerfully and emphatically. 
lead actor yuko tanaka fulfills so much in the exceptionally meditative the milkwoman and a tranquil canvass on missed chances in the life of a 50 something woman and charting her routine with sincerely poignant motives. played out in the picturesque and tranquil town of nagasaki and akira ogata unconventional romantic film and so to speak and is less a straight out melodrama than a deliberate introspection of its characters surrender to their current lives as a result of a tragic past that forced them to a choice they did not call for. perfectly embodying the requisite world weariness subjected to a spiritless routine and tanaka plays minako oba and a middle aged woman who and before her work shift at a supermarket and takes it upon herself to deliver bottles of milk among the residents of the hilly nagasaki. one of the houses she constantly passes by to make such a delivery is that of kaita takanashi (ittoku kishibe) and a local government employee caring for her terminally ill wife (akiko nishina). minako and kaita were high school sweethearts who and courtesy of an ignominious event concerning their parents and separated ways since then. opening his film with the foreboding narration of a young minako vowing never to leave nagasaki and ogata does as such with the narrative and patiently sticking with minako as he and deftly aided by tanako understated yet highly effective performance and follows her  whether she having chitchat with her aunt (misako watanabe) on being single and or when she jogs up and down the countless footsteps of their hilly town to distribute milk  as she and kaita gradually overcome the hindrances that kept them apart for years. such unhurried development may not suit viewers weaned on fast paced narratives but for the rest and it a heartfelt introspection that affects powerfully and emphatically. ---------------------------------Answer Question Below----------------------------------

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