The stream's ideal is the sea, the caged bird's is the blue sky, and the tree's is the earth. If even things are like this, what about humans? Looking at history and the world, which great achievers didn't have ideals? Yet, ideals are full and plump, while reality is harsh and skinny; most people in this world end up not living as they imagined, becoming wage slaves enslaved by capital. Speaking of corporate slaves, one naturally thinks of Japan first, because the term originated as a self-mocking phrase among low-level employees in Japanese companies, derived from "company" and "livestock," meaning "the company's livestock." It first appeared in Japan in the 1990s and gradually spread across East Asia. In Japan in 2025, 996 work schedules and overwork are still the norm for office workers, so the main theme of this film not only realistically presents the bad habits of Japanese workplace culture—like getting newcomers drunk at welcome parties—but also meticulously depicts the sorrowful reality of corporate slaves! In the film, the male actor playing the office worker gets blackout drunk after the welcome party on his first day, just like all corporate slaves, and then begins their endless 996 loop of life. However, this film's male lead can be said to be blessed by the goddess of luck, so he doesn't have to become one of the countless empty souls at night, because he meets the taxi driver played by Yua Mikura, who not only becomes a spiritual mentor, listening to the corporate slave actor's complaints, but also offers an immersive mind-and-body relaxation therapy, under the double assault of her fair breasts and juicy buttocks—I'm really afraid the corporate slave lead might climax and ascend to heaven! An encounter like cherry blossoms under the moon—brief yet brilliant, and as if falling into the cracks of Tokyo's neon lights; perhaps such stories really exist in the real world! The night driver transforms into a poet of body and soul, listening to the whispers of the city's lost souls—elevating everyday scenes into a feast of desire and redemption. This film is not just an AV, but a safe haven for the souls of corporate slaves, awakening every heart that is lost, adrift, and suppressed. Moreover, "SOD" magnifies the everyday ordinary aspects of Japanese "corporate slaves" and "taxi culture" into a romantic fantasy, allowing fellow corporate slave fans to find resonance in their drunken sincerity, which is an outstanding move!