Perfect Days (2023) is a quietly profound and beautifully minimalist film directed by Wim Wenders. Set in Tokyo, the movie follows the simple yet deeply meaningful life of a toilet cleaner who finds joy in small daily rituals. It’s a contemplative look at existence, routine, and the quiet poetry of ordinary life.
Detailed Summary
The Rhythm of Everyday Life
The film centers around Hirayama (played by Kōji Yakusho), a middle-aged man who works as a public toilet cleaner in Tokyo. Each day, he wakes up early, tends to his plants, drinks coffee from a vending machine, drives his van through the city, listens to old cassette tapes (Patti Smith, Lou Reed, The Velvet Underground), and performs his cleaning duties with quiet precision.
What initially appears mundane soon unfolds into something meditative — a portrait of a man fully present in each moment. Through his eyes, we see Tokyo not as a bustling metropolis but as a space of harmony, sound, and subtle beauty.
Encounters and Disruptions
Hirayama’s life, though peaceful, isn’t without interruption. His young coworker Takashi (Tokio Emoto) is less dedicated to his work and often relies on Hirayama’s calm patience to stay afloat. The two develop an understated bond.
Later, Hirayama’s routine is disrupted by the unexpected arrival of his runaway niece Niko. She spends a few days with him, and through her we get a glimpse into Hirayama’s past — a life he seemingly left behind. When her mother (Hirayama’s estranged sister) comes to retrieve her, it’s revealed that Hirayama once belonged to a wealthy family, but chose a solitary, humble life instead.
A Life of Quiet Fulfillment
Between his encounters with strangers, his photography of trees, and his solitary reading (Faulkner, Patricia Highsmith), Hirayama’s life begins to feel less like isolation and more like enlightenment. Each detail — from the sound of a broom to sunlight filtering through leaves — becomes a reflection of his internal peace.
The film’s beauty lies in its stillness; there’s no dramatic climax or traditional conflict. Instead, meaning accumulates slowly, like morning light creeping across his small apartment.
Movie Ending
The final scenes are both devastatingly simple and emotionally overwhelming. Hirayama drives to work as usual, following his established morning rhythm. But this time, there’s a subtle shift — a sense that he’s processing the small ruptures in his tranquil life: his niece’s visit, the brief romantic encounter with a woman he meets in a bar, and the awareness of time’s quiet passing.
As he listens to “Perfect Day” by Lou Reed on his car stereo, the camera lingers on his face. His expression transitions — from contentment, to sadness, to quiet joy, to something in between. It’s a masterclass in subtle acting; every flicker of emotion suggests memories, regrets, and gratitude coexisting.
The screen fades to black with him smiling faintly, tears in his eyes — a man entirely alive in the moment, yet fully aware of impermanence. The ending leaves viewers suspended between melancholy and transcendence, exactly where Wenders wants us: feeling the poetry of the ordinary.
Are There Post-Credits Scenes?
No, there are no post-credits scenes in Perfect Days. The film concludes with Hirayama’s emotional final expression, and the credits follow immediately. Given the film’s meditative tone, an extra scene would have disrupted the perfect finality of that ending.
Type of Movie
Perfect Days is a drama and slice-of-life film with strong elements of philosophical cinema. It belongs to the tradition of contemplative world cinema — think Ozu’s serenity, Jarmusch’s stillness, and Tarkovsky’s spiritual quietude.
Cast
- Kōji Yakusho as Hirayama
- Tokio Emoto as Takashi
- Arisa Nakano as Niko
- Sayuri Ishikawa as the bar woman
- Tomokazu Miura as Tomoyasu (Hirayama’s employer)
- Min Tanaka as the homeless man
Film Music and Composer
The soundtrack is central to the film’s tone. Instead of a traditional score, Wenders fills the film with 70s and 80s rock classics — songs by Lou Reed, Patti Smith, The Rolling Stones, and Nina Simone. These tracks become emotional anchors, expressing what Hirayama himself never says out loud.
The use of Lou Reed’s “Perfect Day” in the ending scene is especially powerful, serving as both a literal and metaphorical summation of his life philosophy.
Filming Locations
The film was shot entirely in Tokyo, Japan, primarily in the Shibuya, Shinjuku, and Sumida districts. The toilets Hirayama cleans are part of the Tokyo Toilet Project, a real-life initiative designed by famous architects to create beautiful, accessible public restrooms.
These locations are not only backdrops but symbolic spaces — reflections of Japanese aesthetics, blending functionality, design, and spirituality in everyday life.
Awards and Nominations
- Cannes Film Festival (2023): Kōji Yakusho won Best Actor.
- Academy Awards (2024): Selected as Japan’s entry for Best International Feature Film.
- Tokyo Film Festival: Nominated for multiple awards including Best Director.
- The film received critical acclaim for its cinematography, performance, and philosophical depth.
Behind the Scenes Insights
- Wim Wenders was invited to Japan to document the Tokyo Toilet Project but decided to create a narrative feature instead.
- The film was shot in just 17 days with a small crew, emphasizing authenticity over perfection.
- Kōji Yakusho spent time shadowing real Tokyo toilet cleaners to understand their routines.
- Wenders said he wanted to make a film about “the beauty of repetition and the grace in work.”
- Most scenes used natural light to preserve the realism of Tokyo mornings.
Inspirations and References
- The film draws clear inspiration from Yasujirō Ozu, especially Tokyo Story and Late Spring.
- The character of Hirayama reflects Zen Buddhist philosophy, where simplicity and mindfulness lead to enlightenment.
- Thematically, it resonates with Wenders’ earlier works like Paris, Texas (1984) and Wings of Desire (1987), both exploring solitude and quiet human connection.
Alternate Endings and Deleted Scenes
No official alternate ending has been released. However, Wenders has mentioned that some of Hirayama’s daily routines were filmed in multiple versions to experiment with tone — for example, different versions of his morning rituals and variations in his van drives. These weren’t deleted for content but for pacing and rhythm.
Book Adaptations and Differences
The film is not based on a book, but it evokes literary influences — particularly from Japanese haiku and minimalist fiction. Its structure resembles the short prose of Haruki Murakami and Kawabata, where emotional depth hides beneath ordinary surfaces.
Memorable Scenes and Quotes
Key Scenes
- Hirayama cleaning the toilets with precise, almost spiritual dedication.
- The nighttime conversation with the bar woman, where silence says more than words.
- The reunion with his niece, revealing a glimpse into his past life.
- The breathtaking closing sequence in the van, accompanied by Lou Reed’s “Perfect Day.”
Iconic Quotes
- “Every day is a perfect day.”
- “Small things make life big.”
- “We look, but do we really see?”
Easter Eggs and Hidden Details
- The name Hirayama echoes the protagonist in Ozu’s An Autumn Afternoon.
- His book collection subtly mirrors his mindset — Faulkner for memory, Highsmith for solitude.
- Each tree he photographs represents a different emotional state; their order subtly parallels his inner journey.
- The cassette tapes mark different moods of the week — a hidden emotional diary through music.
Trivia
- Wim Wenders called this film his “love letter to Tokyo.”
- The Tokyo Toilet Project featured real architectural works by Tadao Ando and Kengo Kuma.
- Kōji Yakusho’s performance was praised as one of the most restrained and powerful of his career.
- The film’s title is taken directly from Lou Reed’s song, though interpreted in a more existential sense.
Why Watch?
Perfect Days is a film for anyone who feels overwhelmed by modern chaos. It reminds us that meaning isn’t found in grand events but in the details of everyday life — the sound of a broom, a ray of sunlight, or a song on an old cassette. It’s slow, meditative, and quietly transformative.
Director’s Other Movies
- Paris, Texas (1984)
- Wings of Desire (1987)
- Buena Vista Social Club (1999)
- The Salt of the Earth (2014)
- Pina (2011)
