Wenders and American cameraman Ed Lachman journey to Tokyo for a quick-sketch cinematic scrutiny of all things Japanese, dwelling on the production and consumption of the hyperreal images with which Japan's chief city is saturated. Moving away from this enmeshed postmodernism, he seeks out remnants of traditionalism, specifically traces of the late director Yasujiro Ozu, whose work had a profound influence on Wenders. He talks to Ozu's cameraman and visits the director's grave site before heading back to the urban jungle of golf games, plastic food, neon signs, and pachinko parlors. For many, this is Wenders's most underrated film, stunningly shot by Lachman.