In March 2018, I was shaken by the news that a state official, ordered to alter public records, had taken his own life. His name was Toshio Akagi, an employee of the Kinki Local Finance Bureau. I later met his wife, Masako Akagi, and began to film her. Through the quiet texture of her days, I felt I might come to know Toshio as well—as though, within the hollow left open by his absence, something of him still remained. Through cinema, I wanted to stand against a world intent on consigning him to forgetfulness.