Always: Sunset on Third Street ’64

The film is set in Tokyo's Yuhi district, a down-at-heel neighborhood of small businesses and resilient families. The central locations include the Suzuki Auto shop, a bustling five-and-dime store, and Hiromi's sake bar. This area serves as a microcosm of post-war Tokyo, where work, community, and modest dreams intersect in a crowded urban landscape.

The story unfolds in 1958, during the late 1950s in Tokyo, a period of rapid economic recovery and social change following World War II. The era is marked by modernization, with the impending completion of Tokyo's TV broadcasting tower symbolizing the city's progress and growing national pride.

The film explores three core themes: Hope, as characters pursue personal dreams against the backdrop of Tokyo's reconstruction; Community, highlighting the intergenerational bonds and mutual support among neighbors, families, and local shopkeepers; and Ambition, showing characters striving to redefine themselves within a transforming city.

The looming TV broadcasting tower, under construction in Tokyo, serves as a symbol of modernization and national optimism. It mirrors the characters' own aspirations for better lives, representing the promise of progress that drives the community's hope for the future.

Mutsuko Hoshino is a rural schoolgirl who travels to Tokyo to begin her first job at Suzuki Auto. She is eager and hopeful but quickly learns the harsh realities of the shabby workshop. Her adaptability and kindness help her navigate the tough workplace and forge connections with the Suzuki family.

Ryunosuke Chagawa is the manager of the local five-and-dime store and a struggling serial writer who churns out sci-fi tales. He chafes at being seen as a hack and longs for greater literary recognition beyond writing adventure books for children. His street-front life intersects with the broader dreams of the neighborhood's residents.

Hiromi Ishizaki is a newcomer who opens a sake bar in the Yuhi district and quickly earns a following. She brings business sense and charm to the neighborhood while also caring for Junnosuke, the bar's previous tenant's orphaned son. Her character highlights the era's shifting social roles and the balance between entrepreneurship and compassion.

The Suzuki family runs Suzuki Auto, a rough no-nonsense workshop. Norifumi Suzuki is the bad-tempered head of the shop, whose stern demeanor contrasts with his family's warmth. His wife Tomoe is a welcoming figure who helps newcomers like Mutsuko fit in. Their five-year-old son Ippei brings playful curiosity and childlike hope to the story.

Junnosuke Furuyuki is the orphaned son of the bar's former tenant, who becomes part of Hiromi's life after his parents pass away. His presence underscores themes of guardianship and responsibility, illustrating how new families form in a city on the move. He embodies the vulnerabilities and hopes of younger generations in post-war Tokyo.

The film portrays post-war Tokyo as a city rebuilding after devastation, with the Yuhi district serving as a microcosm of this recovery. The neighborhood features small businesses, tight-knit communities, and ordinary people balancing work, family, and aspiration as the city threads toward a modern future. Despite hardship, there's a sense of possibility and quiet resilience.

The story takes place as the 1964 Tokyo Olympics approach, a period that symbolizes modernization and growing national pride for Japan. The upcoming Olympics serves as a backdrop to the characters' personal dreams, with Rynosuke Chagawa awaiting a new TV to watch the games. This era represents a turning point for Tokyo and the nation.