Hidetoshi Nishijima portrays Kafuku, a respected stage actor directing a production of "Uncle Vanya" with younger performers. He insists on driving himself to rehearsals in his red Saab, disregarding the theater's usual procedures and finding himself under the care of the reserved Misaki (Tôko Miura). As they adjust to working together and he gets acquainted with his cast, the narrative reveals details about his history—his marriage to a celebrated playwright that resulted in heartbreak—and hints at Misaki’s personal struggles. The two begin to offer each other support, compensating for losses from their respective pasts. I found myself enjoying this film; it has several unusual elements, particularly concerning Kôji (Masaki Okada), who is strikingly handsome and mysterious, and whose story becomes interestingly connected with his mentor's. The movie establishes its own rhythm early on, which some viewers will likely appreciate. The dialogue is restrained, occasionally perhaps too much so, and the film’s nearly three-hour length can feel somewhat demanding at times. Director Ryûsuke Hamaguchi may have pushed the stylistic boundaries a bit far; the film lingers visually, and as the title implies, there are moments when it seems like a road movie might be more suitable. Nevertheless, it remains accessible, requiring focus from the viewer, and the connection to Chekhov’s play feels fitting. I would recommend seeing this on a large screen—I worry that even those who can concentrate well might lose their attention if watching at home.

Source on TMDB