Through talk and play, a group of schoolchildren come to terms with themselves and each other, eventually learning to stop their teasing and trickery. Japanese director Susumu Hani evinces a profound respect for his subjects in this 1963 feature and in the accompanying short, Children Who Draw (1956); sometimes he films the children from a low angle, making them seem tall, and his intercutting of diverse angles suggests a child?s shifting perspective of himself and others. In the extraordinary Children Who Draw, Hani frequently inserts color images of the children?s drawings into black-and-white classroom scenes, which heightens our sense that each child is as different as his art and that individual identity is more important than the group’s.