文德斯仰慕小津，在其逝世二十年后踏上了去东京的朝圣之旅。文氏的旁白一下子就吸引了我，他说：“If in our century there are still sacred things, if there were something like a sacred treasure of the cinema, then for me it would have to be the work of the Japanese director Yasujiro Ozu.”
文德斯的眼光很敏锐，从赏樱花的东京人、全民沉醉的电玩游戏、迷恋其形式胜过功能的golf、仿真的蜡制食物模型等，都可以一窥日本的民族特性。特别是日本视为国技的游戏电玩，文氏一语道破：“Winning is hardly important, but time passes. You lose touch with yourself for a while and merge with the machine and perhaps you forget what you always wanted to forget. This game first appeared after the lost war when Japanese people had a national trauma to forget.”
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