Picnic

Coco is dropped off at a mental asylum for young teenagers by her parents. The staff swarm her, and a nurse treats her roughly, confiscating most belongings and adornments except for her crow feather scarf, which she clings to. The harsh reception sets the tone for the inmates' grim environment.

In the art therapy session, Coco meets Tsumuji and his friend Satoru and they gradually become friends. The environment is hostile, but the trio finds a moment of camaraderie through shared drawings and conversations. This bond anchors their later actions.

While in his cell, Tsumuji hallucinates his grade-school teacher molesting him, revealing the depth of his trauma. The vision leaves him shaken and isolated from the others. The scene foreshadows how abuse shapes the boys' perceptions of safety and trust.

After stealing black paint from the storeroom, Coco, Tsumuji, and Satoru scale the asylum walls and gaze out at the road beyond. They explain they won’t get in trouble if they don’t go past the edge, then Coco follows them further along the wall. The act hints at their longing for freedom and a broader world.

Coco ventures beyond the wall to a church and they watch a hymn recital. A priest engages them in a discussion about God, and Coco defines birth as the world’s beginning and death as its end, calling her parents her God. The priest gives them a Bible and urges them to read it.

Back at the asylum, the trio is restrained and taken to a punishment ward, strapped to beds. That night, a staff nurse rapes Tsumuji, and he hallucinates the teacher taunting and urinating on him. The abuse cements the brutal atmosphere surrounding the children.

The group grows increasingly absorbed in the Bible, especially passages about the end of the world. They interpret the book’s publication date as the reference point for the apocalypse. Their fixation drives them toward a grand, doomed plan.

Excited by their belief in an approaching apocalypse, they go beyond the church into the main city and attract stares. They steal a gun from a pursuing police officer and mock a billboard for a sports drink. The thrill of rebellion grows, trading safety for peril.

In a residential area, Satoru rummages through a discarded trash bag for food and uncovers a severed hand, horrifying the group. He runs away in panic while the others react with shock and fear. The grim find underscores the fragility of life outside the asylum’s walls.

While continuing their walk, Satoru slips and falls off a wall, hitting his head on a rock. He drags himself forward, dazed, insisting that he must climb again, before finally losing consciousness from blood loss. The incident marks a violent turn in their journey.

Coco confesses that she killed her identical twin Kiki in a game of who-is-fake, and Tsumuji reveals he stabbed his teacher after years of abuse. The two comfort each other and share a brief kiss, momentarily easing the weight of their traumas. The moment deepens their fragile connection.

They reach an offshore beacon as the sun sets and open an empty picnic basket, pretending to eat to fill the void. The trio discusses whether shooting the sun with the gun could trigger the predicted event. The scene juxtaposes childish ritual against ominous intention.

Tsumuji fires three shots into the sun, but nothing happens, and Coco teases him about his aim. The failed attempt underscores the futility of their plan and the collapse of their earlier bravado. They confront the emptiness of unrealizable apocalyptic fantasies.

Coco shoots herself in the head, ending her world. Feathers from her scarf burst into the air as Tsumuji grasps her body and the empty gun clicks into the sky. The moment is both a literal and symbolic end to their shared illusion and lives.