Dodes’ka-den

Roku-chan imagines himself as the driver of a fixed-route trolley through the dump. He repeats the refrain dodeska-den and treats the journey as a sacred mission. His obsession frames his daily life in the shantytown, blurring fantasy with reality.

Roku-chan is labeled the trolley freak by locals and outsiders, a tag that follows him through the community. His mother worries that the fixation might signal genuine mental disturbance. The tension between fantasy and social judgment colors life in the town.

Ryotaro, a hairbrush maker, shoulders the burden of supporting numerous children conceived through Misao's affairs. He remains wholeheartedly devoted to them, despite the strain on his resources. His tenderness sits at odds with the town's harsh conditions.

Two drunken day laborers, Masuda and Kawaguchi, engage in a reckless cycle of wife swapping. The next day they return to their wives as if nothing happened, illustrating a pattern of routine infidelity. The episode exposes the fragility of relationships under poverty.

Hei is stoic and emotionally distant, while Ocho appears as his ex-wife who helps with domestic chores. It is revealed that she cheated and returned, wracked with guilt, and Hei does not forgive her. The dynamic reveals lingering resentments beneath everyday life.

Shima, a man with a tic, defensively shields his outwardly unpleasant wife when friends criticize her. He insists she has always been there for him, revealing a stubborn loyalty that circles the town’s moral judgments. The moment underlines complex bonds in a tough environment.

A beggar and his son live in a derelict Citroën 2CV, with the father dreaming of a grand home. The boy dies from food poisoning, and the father buries the cremated remains with Tanba's help, clinging to the fantasy that the grave is a swimming pool for his son. The scene blends sorrow with stubborn hope.

Katsuko, a mute girl, is raped by her alcoholic uncle and becomes pregnant. In a moment of emotional turmoil, she stabs Okabe, a boy who cares for her, though he later forgives her. The uncle flees when confronted, leaving the town to reckon with violence and guilt.

Okabe recovers from the stabbing and forgives Katsuko when she apologizes, his warmth undiminished. The scene emphasizes compassion amid a landscape of hardship and misfortune. His reaction stands in contrast to the town's cynicism.

Tanba, the chasework silversmith, appears as a sage figure who shows kindness to the town's residents. He disarms a youth with a sword using understanding words and helps a burglar by giving money, later denying to the police that any robbery occurred. His actions model humane restraint in a harsh world.

The narrative returns to Roku-chan as he comes back from his imagined tram ride, removes his conductor hat, and hangs it up. The act signals a quiet retreat from fantasy and a re-entry into ordinary life. The closing beat frames the cycle of dreams within the town.

Across the town, characters endure setbacks while clutching small dreams of escape and better days. The film traces how routines and fantasies coexist to keep people moving forward. It ends by reaffirming the fragile humanity that persists amid deprivation.

The final images emphasize the cyclical nature of life in the dump, where hope and despair continually alternate. The characters' lingering humanity survives the day-to-day grind, suggesting that escape may be possible only within the boundaries of their world. The film closes on a note of quiet resilience.