Mikhail Mikhailovich Bakhtin (1895–1975) theorized that narratives were basically dialogic and polyphonic, and that they were competitive, with multiple voices. In this paper, I call his dialogue based on the opposite relationship of Self and Other "Opposite Dialogue," and analyze the theoretical relationships of what I call "Coexistent Dialogue," using discourses from three scenes in Yasuhiro Ozu's film, Tokyo Story, focusing on repeated voices, side-by-side positions, and harmonious and sympathetic resonance of Self and Other.