Three years ago, Japanese director Shô Miyake enjoyed an arthouse breakthrough with his gorgeous, unconventionally delicate boxing movie “Small, Slow But Steady”; two features later, that title looks more and more like an announcement of Miyake’s own filmmaking credo. All three adjectives apply to his latest, “Two Seasons, Two Strangers,” though it’s more jagged and peculiar than that description might imply on its own. Playfully reorienting the viewer as it shifts from a contemplative film-within-a-film — depicting a fleeting connection between two strangers in a seaside village — to the equally low-key reality of that film’s shy, adventure-seeking writer, it’s a tale light on incident but rich, per its
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