It is also interesting how Nori behaves. In the first half of the film, she clearly shows dissatisfaction with what is happening. The girl cries and tries to find support in David. But after a while, she refuses to admit all her previous words about "touching" and even begins to be jealous of the conductor to the other young members of the orchestra. In one of the final scenes, the teacher assures the girl that they have a unique relationship, unlike those that occur between the conductor and other girls in the group.
At the very end of the film, people don't notice that the 60-year-old conductor has a relationship with a teenage girl. Only David sees it and he hurts the teacher with his disappointment. The pain of realizing that the boy's idol has been destroyed is transmitted to the conductor himself. The old man says that Nori needed care but he misunderstood her. Others do not understand the meaning of these words but David, sitting at the table with the teacher's family and answering the question of the conductor's wife if he wants to eat more, says that he can no longer do this. And, for sure, it's not about food at all.
At first, it seems as if the conductor and Nori are opposing the main character. In the end, the viewer sees that there is no struggle between anyone — there is one within themselves, which almost always ends tragically. There are no villains or heroes. Some people see only a part of what they can see.
The idea of this film is that all three main characters are victims. Everyone is surrounded by the outer noise, which they interpret differently. They develop misunderstanding and fear because the model of the world, which was in their heads for a long time, eventually ceases to function. They are forced to adapt to external conditions — the ones that were created by other people trying to do the same, and who also do not see the whole picture.