Miho (Maho) is a modern Tokyo school girl who contemplates being a science fiction writer. Miyata (Kazuma Sano), too, is a frustrated would-be writer - in 1912. After an earthquake, Miho accidentally drops her cellphone, which falls into a wormhole, bending the normal rules of time and space. By further twisting the rules of physics and telecommunications, the two can talk to one another over time. It appears that that the two have quite a bit in common despite their considerable differences.
But TOKYO GIRL makes more sense as a way to manage story conventions, a way to fictionally link people from different times. (The same device was recently used, as you might recall, in Jin and Jin 2.) But once you get past the awkward set-up (which you probably shouldn't think about too long), the story evolves into a charming love story of sorts, about two time-crossed would-be lovers. But love will be replaced by melancholy, since their time together can't last forever. (Even the laws of physics can't solve problems with lithium cell phone batteries.)
TOKYO GIRL tries to overcome basic plot problems with a sentimental story about two young people separated by time. The period detail is competent enough to be convincing, and Kaho is always likable and believable.
But TOKYO GIRL makes more sense as a way to manage story conventions, a way to fictionally link people from different times. (The same device was recently used, as you might recall, in Jin and Jin 2.) But once you get past the awkward set-up (which you probably shouldn't think about too long), the story evolves into a charming love story of sorts, about two time-crossed would-be lovers. But love will be replaced by melancholy, since their time together can't last forever. (Even the laws of physics can't solve problems with lithium cell phone batteries.)
TOKYO GIRL tries to overcome basic plot problems with a sentimental story about two young people separated by time. The period detail is competent enough to be convincing, and Kaho is always likable and believable.