Director Kazuyoshi Kumakiri makes films about people on the fringe of society. In Nonko 36-sai, Kumakiri’s seventh and sweetest film, his protagonist is no exception; Nonko (Maki Sakai) once worked as a small-screen starlet, but her career never took off. She’s a divorced thirty-something who, lacking ambition, goes back home to her parents to help them maintain a Shinto shrine, mainly doing domestic chores. The Japanese title translates roughly into "Non-ko, 36, household helper," which conveys the essence of how people perceive her now. The title illustrates how she’s moved from rising Tokyo actress to provincial laborer. Only the naïve Masura, a younger man she meets while working, can return a smile to Nonko’s face. This story is an awkward love story, and a highly original one that realistically portrays the complexities of a bitter woman in her 30s who eventually becomes more emotionally and physically responsive. The developing relationship is challenged when her ex (Shingo Tsurumi) shows up tempting her with the offer of stardom again, and she lacks judgment in her dealings with him. Whether you possess an Eastern or a Western sensibility, you’ll still recognize this woman’s character, and while her bad choices are sometimes hard to watch, they are somewhat expected. Watching Sakai’s most human performance is one of the highlights of Nonko. The cinematography is also visually capturing and most memorable is a chase scene, in which a yellow baby bird runs through a field of pink daisies. In general, this film radiates natural warmth, and helps us look forward to tomorrow just a little bit more.