This entry needs work, not just from a grammar angle but from a "is there enough of a justification to even use it" angle.
Yamato Nadeshiko: Downplayed by Chiyoko, in a strange way. Chiyoko has often heavy shades of this, but she is definitely not your typical, haiku-reciting, traditional Yamato Nadeshiko and she sometimes looses that status temporarily through the movie. Yet, she still retains almost always her style of elegance and works very hard for her goals just like a Yamato Nadeshiko would. She makes up for the art part by being an graceful actress and she is also quite determined when it comes to pursuing the artist, without really stepping out of the Nadeshiko concept. She also seems to be very devoted to Otaki, the director she marries in the late part of the movie, even after it is revealed that he is responsible for the loss of the key, but she still gazes at him forcefully, implying her disapproval. Old Chiyoko comes to this trope closer than the young Chiyoko.
This entry needs work, not just from a grammar angle but from a "is there enough of a justification to even use it" angle.