Aftersomemisunderstanding，SakaguchiishiredtomakeatouristguidevideoonTobako(afictitiousnameforKawaguchi)intheoutskirtsofTokyo.Thiselementinthescriptsparksoffafancifulwanderingstrewnwithunexpectedmeetings.FirstwithKitagawa，thankstowhomSakaguchilandedthejob.Thenwithaseamstress，andthenwithYoshino，withwhomahalf-heartedromanceemerges.Thusthenarrativeunfolds，inhaltsandswerves，espousingunexpectedmeetings，andofferingthestrollingcharacteranopportunityfordisplacementsfromoneplacetothenext.Thedesertedtownhascometoastandstill–theshootingtookplaceduringthelockdown–andthisactsasametaphorfortheidlenessofthecharacters.GardenSandboxislightandnimble，whereasitsmaincharacterhasalimp.Herdemeanourandherstiffbodyexudeapeculiarquality，somewhatcomicallyatoddswiththesetting.Apatheticallyplayingalong，theyoungwomangleansfromeachcharactersomepiecesofinformationaboutthetownand，then，touchbytouchshedelineatesitspicture∶ultimately，theplacecomesacrossasapost-industriallocalewhosefoundriesarenowobsolete.Sakaguchi’sverymeanderingsleadhertoarichfamily’shouseforasewinglesson.Inthispivotalscene，theladyofthehouseinviteshertodonanupper-classweddingdress.Throughagesturebothradicalandpowerful，whichitselfinformsthedynamicofthefilmasawhole，agleefulsnipofthescissorstransformstheitemofclothingintotheultimatechicofhaute-couturedesign.WhatweavestogetherthistruantescapewhosemotifsandfabricseeminspiredbyJacquesRozier’sfilms，acrumblingindustrialheritageandthetransformingofatraditionalweddingdress?WithGardenSandbox，whosetitleisareferencetothetypeofsandusedinthefoundries，joyfullyandplayfully，YukinoriKurokawainterrogatestheconceptsofmutationand(re)useassourcesofboundlesspossibilities.(ClaireLasolle)