Monster (2023) User Reviews

Who judges whom?

[bjhex1 · 9/10 · 10 July 2023]

A very well constructed film exploring the complexity of how simple words and actions affect people in unexpected ways. Highly relatable in showing how, armed with only a superficial understanding of a person or situation, context can be manufactured to fit a particular narrative. But not only individuals, but institutions as well are put in the crosshairs. The bureaucratic value placed on appearance and propriety (perhaps more particularly in Japanese society but nevertheless universal) is also critiqued.

But the most telling point, and for me the one most central to the story, was what could have been dismissed as a throw-away line. But at its heart, the perfect example of how simple words create a life of their own. It's when the teacher, Mr. Hori, casually, and quite un-seriously, remarks in the PE class about what it is to be a man. At its core, that's what the film is about, understanding who you are as a human, and accepting it on your own terms. Confusion, misinterpretation, familial and societal expectations of how someone must be, or act, or love, can turn them into the other, the strange, the monster. And the film is overflowing with empathy for all those who become afflicted in one way or another.

If the film has one drawback, it's that the editing in the later stages of the film gets a bit loose. The time-jump and multiple perspective structure of the film works magnificently well for most of the film, but nearing the end, it does tend to drag a bit. But overall, a wonderfully engaging and skillfully produced film.

My favourite from Kore-eda

[SoumikBanerjee1996 · 8/10 · 2 February 2024]

During the initial hour, you may experience a state of complete bewilderment, unsure of the exact themes being portrayed in here. Is it centred around the troubled minds of children, or does it delve into the realms of bullying, abuse, or even something more sinister?

Several questions will plague your mind, regardless of your strong inclination to scrutinise this narrative, you will find little to no clarity due to the intricately crafted script that almost follows a 'Rashomon' structure, presenting different perspectives.

At the outset, your queries will remain unanswered, requiring further patience. However, if you can somehow endure that burden, the film remarkably unravels itself in the concluding moments, connecting every single dot and revealing its ultimate truth underneath.

I must admit, I was blown away by the revelation. The way Hirokazu Koreeda, the director, masterfully navigates through such delicate and complex themes without resorting to any impure contemplations is commendable, to say the very least.

"Monster" has now undoubtedly become my personal favourite from him, even exceeding one of his most acclaimed work, 'Shoplifters'.

P. S. The performances delivered by the two kids, Soya Kurokawa (Minato) and Hinata Hiiragi (Yori), were nothing short of outstanding. The scenes between them never felt superficial, not once, and their maturity, especially considering their young age, deserves nothing but high praise.

points of view

[dromasca · 9/10 · 1 October 2023]

There are no monsters in 'Monster', Hirokazu Koreeda's latest film and the first shot in Japan after a five-year absence and two films made in France and Korea that I personally liked, but many other cinema fans liked less. It is not a horror film either, but rather a combination of a family drama with social cinema, based on an original screenplay written by Yûji Sakamoto. The subject is an incident that takes place in a school involving 5th graders and their teacher. Yûji Sakamoto and Hirokazu Koreeda use a technique here that is not entirely new - in fact, one of the famous precedents is found in the history of Japanese cinema and gave its name to the Rashomon effect, as in Akiro Kurosawa's famous 1950 film. Hirokazu Koreeda expanded and improved this technique where different perspectives and points of view of the same events are described by different characters. In "Monster", with each of the three iterations of the story, we not only learn more and change perspectives, but also gain a deeper understanding of the heroes and what they stand for.

Saori is the single mother of Hinato, a 5th grader. When the signs of a conflict at school appear - changes in behavior but also signs of physical violence - the mother addresses the school management. In her own way, Saori is an exemplary mother, but the child does not communicate much, and the interaction with the school principal and teachers does not work either. The school principal is a grieving grandmother who also has her own problems. In fact, the theme of the first part of the film seemed to be exactly this impossibility to communicate - due to age, due to the formality of teacher-parent relationships or simply the difficulties of communication in a society that avoids direct expression and camouflages it behind ceremonial rules of politeness. The source of the trouble seems to be a young teacher named Hori. He is forced by the principal to apologize, and is then expelled from school only to reappear under strange circumstances. Hinato also has a friend in class, but what is the true nature of their relationship? The second part of the story is told from Professor Hori's perspective, while the third part brings to the fore the relationship between the two children. When we reach the end the perspective is completely changed. The judgments and assumptions made in the first part turn out to have been largely wrong.

Hirokazu Koreeda seems to be telling us that in the absence of communication, good intentions are not enough. There is no lack of love between the heroes in this film, but neither the mother knows her son well enough, nor the student's teacher. The much praised and appreciated Japanese ceremonial politeness seems here to be the main object of criticism of the director and screenwriter. Only the two kids, still uncorrupted by the language and manners of adults, manage to make their feelings felt to each other, with few words and more with gestures and joint activities - what we adults call play. As always with Koreeda, the casting is perfect and the focus is on the humanity of the characters. Nature also plays its part. The story in the film is placed between two dramatic events that disturb the calm of a picturesque town located on the edge of a lake: a fire at the beginning, a typhoon that produces landslides at the end. Between them the characters live their dramas. Beautifully filmed and with a soundtrack very well suited to the story, interestingly written and full of humanity and sensitivity, 'Monster' is one of the best films I have seen in recent months.

Who is the "monster"?

[breadandhammers · 9 October 2023]

Directed by: Hirokazu Kore-da Written by: Yuki Sakamoto Distributed by: Gaga, Toho

SUMMARY

A Rashomon type of story told in three perspectives: A beleaguered single mother, trying to figure out why her son is being hurt by a teacher in school; An awkward teacher, struggling to navigate misunderstandings in which he somehow ends up the villain; and a young fifth grader falling in love with a boy, standing up to bullying.

RATING

A+

What an amazing feat here: To tell a quiet drama with the intensity of a thriller. Each story is told movingly, and what I find innovative here is that unlike Rashomon, all the stories don't contradict, but rather complete each other. At each point in the story we are wondering who the "monster" is, and I remember thinking that the monster was the seemingly cold principal, the awkward teacher, and even the two children Minato and Yori. I kept thinking they were psychopaths, but that's the point isn't it? That when we don't understand the full picture, we think other humans are monsters. A gay boyhood love story is embedded at the heart here, and ultimately, it ends heartbreakingly.

Complex, Tragic and Heartrending

[bobbsaunders · 9/10 · 19 June 2023]

The story isnt that complex but the journey the film maker takes us on is complex, exaggerating along the way the opacity of the conundrums facing the subjects. Life is difficult, until you see the end result, so navigating life can be extremely taxing and frustrating. This movie is called Monster, meaning that assumptions are often the monsters that they lead us down painful paths, often unnecessarily.

This is a deeply compassionate film. It requires an investment from the viewer but pays off handsomely in the end. This is a filmmaker who is improving with every release. Soon he will be in the same strata as Park Chan Wook.

who is the monster?

[midorixo · 9/10 · 12 November 2023]

I went into this movie with only an inkling of the plot because i enjoy kore-eda's films and was familiar with several of the actors. For a movie like this, the impact is greater if you don't know too many details and can reach your own conclusions without preconceived notions.

The story is constructed like a kaleidoscope. Just when you have pigeon holed people into a role, a quick twist presents a slightly different picture although the characters remain the same.

I thought it was thought provoking, emotional, and beautifully acted. Kore-eda has a genius for finding amazing children who create such nuanced and natural performances at a young age.

purification

[saturatedgrey · 10/10 · 8 March 2024]

When humans receive fragmented information, their brains instinctively fill in the gaps with prior knowledge.

"Monster" masterfully exploits this aspect of the human innate psyche. Resulting in each characters' stories shape unique perception of the film for every audience member.

As a queer individual, I found myself revisiting my childhood traumas through this film, finally acknowledging and beginning to heal from them that I had buried deep for over 15 years.

Regardless of one's sexual orientation, the film provides spacious external container for audiences to project their life experiences and traumas.

I hope others can find the same cathartic relief that I did and embark on their own healing journey.

A masterwork

[The_Silent_Lamb · 10/10 · 18 September 2023]

I was lucky to catch this at TIFF, and also lucky to see it with the director in attendance.

I really don't think I can write anything eloquent enough to do justice to this film. The story is deceptively simple, told in an ingenious way, with a multidimensional understanding of each and every character. Every minute is crafted with purpose.

At one point near the ending, there's a moment of dialogue between two specific characters. I'm not going to give any details to avoid spoilers. These characters said some simple lines, but these lines were so devastating and emotionally pure that I can hardly describe it. The screenwriter and director made it all look so simple, yet something like this can't easily be replicated or achieved.

And the ending. I left the theatre thinking one thing, and then with more thought, it hit me like a train hours later.

I don't know when this will come to theatres, but I'll be eagerly awaiting its release.

Kore-eda's Point-of-View VS Kurosawa's RASHOMON

[fundaquayman · 7/10 · 28 June 2023]

I'm a fan of Kore-eda's feature films, namely the more Stream-of-consciousness movies from the earlier part of his career - MABOROSI, THE AFTERLIFE, & DISTANCE are among my favorites of his work from the mid-1990s to the early 2000s. In his subsequent films that seem to focus even more on social commentary via a neo-realist approach to story telling, Kore-eda managed to show just how good he is in directing children with little to no experience in acting to shine in NOBODY KNOWS and THE MIRACLE. In between, he experimented with comedy (HANA), a twist of fantasy collaborating with non-Japanese actors and cinematographer in AIR DOLL, and then back to more social-commentary and plot driven - some were Melodrama-esque, kitchen-sink films, and others he dabbled in crime whodunnit stories... all of which except for MABOROSI he took charge with writing the screenplays highlighting the fact these were personal stories and messages he wanted to share through the art of Kore-eda cinema.

While the 2 most recent Kore-eda films were overseas collaborations, they seem to show Kore-eda does his best work in Japan, and MONSTER (KAIBUTSU) shows how Kore-eda can shine even when the story isn't penned by himself.

To fans of Kore-eda's earlier films I'd mentioned above, MONSTER is much more story and character driven, and the story is much more accessible than his films prior to NOBODY KNOWS. Many film critics have highlighted the RASHOMON-like approach to story telling. While the technique is similar, the point intended is very different from Kurosawa's use of POV story reveal - Kore-eda uses POV to reveal the truths in the story, while Kurosawa uses perspective story telling to show the audience there is no objectivity with human memories - people will choose to remember and recall memories that isn't necessarily true, but serves to protect their self-interests.

To me, MONSTER has all the heart, humanity, and social commentary that I love from Kore-eda films, but it almost is too accessible for it to be a Kore-eda story - fair to say it isn't his story as he didn't write the screenplay this time. It actually feels like a Shunji Iwai film to me, and some scenes in MONSTER reminds me of Iwai's ALL ABOUT LILY CHOU CHOU. The ending of MONSTER, to me, has a tone & manner that reminds me of Studio Ghibli films like ONLY YESTERDAY (not by Hayao Miyazaki but the late director Isao Takahata) - the messages, the social commentary, the music cues and clues to the ending (if you consider lens flare and changes to the set props) are all so clearly planted - in fact, I wouldn't have expected Kore-eda to feel the audience need to get the ending, but he seems to want to make sure we do through Easter-egg-type devices in the movie (Pay attention to scenes showing the train tracks if you don't know what I mean)...

Is Kore-eda back in good form after dabbling with his French and Korean collaborations? The audience is the best to judge, but being a Kore-eda fan, I enjoyed MONSTER even though I was hoping for a film with less of the planted clues/cues, and this is from me who don't mind the Ozu-esque long takes(MABOROSI, THE AFTERLIFE), 10+ minutes of seeing feet on grass being lost in the woods (DISTANCE), or dialog so subtle you could easily miss that one line about vengeful hate that will make your heart sink (STILL WALKING)...

Last but not least, MONSTER was awarded the Queer Palm prize at Cannes - while I have no intentions to provide a spoiler here, but by virtue of winning the Queer Palm, MONSTER is now considered to be endorsed by the LGBTQ community - the fact that one reaction from a character towards another in one scene can turn what is otherwise no more than fondness/comraderie for children into a sign of Romantic Love, that which for boys at that age when companionship doesn't need to be associated with the idea of romance, let alone sexual orientation and preferences to validate and distinguish (I'm thinking more Mark Lester & Jack Wild in MELODY (1971), the characters of Jean and Julien in Louis Malle's AU REVOIR, LES ENFANTS (1987) and not the characters of Leo & Remi in a much more B/Romance-Losses-Causes focused narrative in CLOSE(2022)) - that one reaction so deliberately planted into the one scene is to me very un-Kore-eda. In my opinion this was done to ensure the audience get the intention without any doubt - wasn't necessary and seemed too deliberate for a Kore-eda film... but then and again, he didn't write the screenplay, and this must have been written deliberately as a key plot-point so to broaden the audience appeal.

Mesmerizing

[brentsbulletinboard · 8/10 · 5 December 2023]

The perspective from which we view a situation infallibly provides us with a clear, irrefutable picture of its truthfulness, right? But what happens if we encounter someone who witnesses the same incident and comes away from it with a totally different interpretation? Both views can't be "right," can they? Or is it possible that none of us can see the totality of a scenario and claim to know everything about it? That's the core takeaway from director Kore-eda Hirokazu's latest feature, an ambitious, skillfully crafted tale told from multiple vantage points, all of them "correct" in their own right, despite the myriad differences that distinguish them from one another, a storytelling technique first developed by Japanese master filmmaker Akira Kurosawa in the screen classic "Rashomon" (1950). Kore-eda's cinematic homage to the famed auteur, told in three separate but interconnected segments, focuses on the exploits of a rebellious pre-teen (Soya Kurokawa) seemingly prone to acting out as a bully. The youth's unpredictable behavior, however, doesn't tell the whole story. His actions appear to be cryptically interwoven with those of his overly protective widowed mother (Sakura Ando), his.young middle school teacher (Eita Nagayama), his aging, softspoken principal (Yuko Tanaka), and his effervescent best friend (Hinata Hiiragi), many of whom aren't always what they seem to be. There are forces at work here that are a cause for concern, prompting the often-asked question, "Who is the monster?", a query that provides the inspiration for this film's title. It's intriguing to watch how the picture's various story threads come together, reminding us of the old adage of not judging a book by its cover, poignantly illustrating that, no matter how much we may think we know about a particular situation, there's a good chance we'll never get a complete picture of it. Kore-eda serves up an eye-opening tale, one that gives us pause to think about our impressions and preconceptions in an age when many of us are all too quick to superficially judge what we see - and in a frequently flawed framework at that. The picture could stand to be a little more swiftly paced at times (especially in the final act), but this is arguably the director's best and most sensitive work to date, one that, we can only hope, will have the kind of profound impact we need in an age where open-mindedness and tolerance are traits we could all stand to develop to a much greater degree - particularly when pieces of the puzzle are missing.

Complex and well done drama

[marcknife · 7/10 · 29 December 2023]

Monster invites us to follow along the same timeline repeatedly three times, from seperate perspectives that differs a lot, yet the movie succeeds extremely well in stitching them together.

I find myself disliking characters that from one perspective are portrayed as the "monster" of this drama, but as it plays out more and more i reevaluate my judgement. Nothing is black and white, there's always another side to the story.

The cinematography is beautiful wich also adds to the experience.

It did feel very lengthy. Wich is ok, it could have been shorter, but some movies are suppose to be slow.. and even boring at times, similar to life itself. Ir.

A contemporary masterpiece.

[wishhsu · 9/10 · 13 August 2023]

Ryuichi Sakamoto's music, the precise editing, the great use of anamorphic lenses, the surprisingly dynamic soundscape, the great use of the Ronin 4D compact camera system, Hirokazu's brilliant directing and surprisingly dynamic staging. All of this existed to serve the impeccable performances and the brilliant story.

Yes, it's very much a contemporary piece, made with contemporary gear, set in the present. Still, the story felt timeless. I think that's why comparisons to the classic Rashomon are often made about this film, though I find them incredibly stretched. We are never lied to like we would've been watching Rashomon in this film, we experience the story exactly as the characters experience them.

In a time where meta films like Babylon and Asteroid City are starting to re-examining their own value, and even big blockbusters like Oppenheimer and Dead Reckoning needed to remind a post-COVID audience of their "return to practicality" techniques to bring them to the cinemas, this is the one that truly reminded me of why I go to the movies in the first place.

Lightning in a bottle.

A Dud. Could have been a great thriller.

[mesaxi · 6/10 · 13 February 2024]

I'll start by saying I'm not a fan of the way Japanese filmmakers handle drama, Kurosawa aside. They're great at action, horror, I've enjoyed Japanese comedies, but their dramas always feel contrived and overly emotional.

This film begins as a bit of a mystery from the perspective of a mother about why her son is acting out. Then it starts over from the perspective of the teacher, who has been accused of causing her son's behavior. Then it finally goes to the son's perspective for a supremely disappointing reveal.

*Soilers below*

The film sets itself up as a suspense thriller, the first two stories end on sort of cliffhangers to be explained in the third segment. Did the child kill himself? Did the teacher? Has the boy's friend been manipulating the situation all along like some sort of sociopath? (I was hoping for that one, I would have enjoyed a "The Good Son" type ending). No, instead it suddenly becomes a gay drama. I mean, it's sort of vague but the context is all there. It almost felt like an after thought too, as there was nothing really to imply that beforehand. And what about the building the kid burned? No consequence for that because love conquers all? How about the Principle and the accusation that she killed her grandchild? A lot was left on the table.

This is the sort of movie we're just drowning in right now. "You need to treat ____ better because they're really misunderstood" heartstring dramas. I mean I supposed I've never seen one from Japan, especially about Homosexuality, but this could have been so much better. It was 3/4 of the way to being a really good thriller and it just turned into another gay drama.

The monster is the Japanese society

[ulpyon · 5/10 · 30 March 2024]

I saw tons of fantastic reviews for this movie, and I tried my best to enjoy it... But I just couldn't.

The movie starts with a mother seeking justice for her son, who gets hit by his teacher. As the story unfolds, we see two other sequences that shows the perspective of the teacher, and lastly the boy himself.

I get it, the moral of the story is that we shouldn't judge other people so easily because everyone has their own struggles. But here's the thing... The monster isn't miscommunication or being judgmental. The monster is the alcoholic dad and the other kids around them. That's it. Do they change for the better? Do they get consequences for ruining people's lives? NOPE! The monster continues to live freely while our protagonists lose their minds (and their lives, figuratively).

I just know this is meant to be a critique for the Japanese society for being overly polite, always on their "tatemae", not expressing their true feelings in fear of causing troubles for others around them. But that's exactly what I hate about this movie. All the characters, how they interact with each other, and the closure they get at the ending, makes me so sad and angry.

If the movie aims to make me feel depressed and uncomfortable, well, it succeeds.

A beautiful piece that solves the 3 different perspectives

[pranayjalvi · 8/10 · 11 January 2024]

Lovingly detailed and accented by an aching score from Ryuichi Sakamoto, who died in March, Monster is one of the finest films of the year, and its structure - like its circle of characters - carries secrets that can only be unraveled through patience and empathy. By cutting things up and showing us the perils of fractured perspectives, the director, demonstrates that compassion is more than just a natural state of being. This absorbing, ambiguously titled movie builds to a moving finish, one that reaffirms Kore-eda's peerless skill at directing young actors in particular..

My Rating : 8.5/10.

A Nuanced and touching movie like no other

[ivyssauro · 9/10 · 10 October 2023]

It's been a while since I've seen a movie with such a smart and yet unpretentious and delicately constructed script, all the while managing not to "flex" it's wiseness on the viewer like most western script-focused works do.

The movie takes three perspectives of charatcers with wildly differing outlooks on a situation, as well as problems in their lives, to guide you through a series of events that starts as looking like a typical case of teacher psychological and physical abuse, but, through the juxtaposing of these three different perspectives, manages to paint a picture with details and nuance hardly ever found on movies, and reveal that the issue was about something else entirely. With characters with complex emotions and issues, as well as not always clear or comprehensive actions, like real life human beings, it is a captivating watch.

With no spoilers, as I feel the movie works best going in without knowing a single thing about it, I can only describe or hint that there are no monsters at all in the movie, the 'Monster' in the title here would have been better translated as 'Beast', or something non-human, sub-human specially, and it is a commentary on how we are all made to feel sub-human sometimes for the way we feel and how we act, a commentary on the shortcomings of humans as individuals, as well as the fact that this 'un-humaness' sometimes projected into us by our peers is in fact what makes us Human. Everyone in this movie (save a few non-protagonist characters) is capable of great love as well as great harm. As a troubled kid, deeply misinterpreted during my shcool years, who suffered abuse and neglect, but also caused great harm on others, I couldn't help but cry copiously during some scenes in this movie, and I can count on my fingers the amount of times I've cried during a movie. Acting is on point as well, with a special mention to the kid's duo who manage to protray an immensily complex and believable relationship. On a techical level the film is subdued, although it shines here and there (one scene specially): the photogrphy is nothing mind blowing, the same can be said for the soundtrack, but I feel these elements, that can often break the suspense of disbelief, ot take too much attention to itself when being over the top, was left purposefully barebones for the audience to focus on the characters and the stories being told. Excellent film, so far Koreeda's best (that I've watched) and I hope it wins as many Best Foreign Picture awards as possible.

I haven't stopped thinking about it since I saw it

[thefendiprint · 10/10 · 5 March 2024]

This film is amazing in every aspect and it's clear the director knows exactly how to make a masterful film. Anyone saying otherwise clearly does not understand the power of cinema, when done as well as this was. The story unveils itself in a way I haven't experienced with a film in a long time, forcing you to change perspectives every 5 minutes. You will go from hating characters to loving them in a matter of minutes. Full of everything you could want in a movie - mystery, drama, suspense, heart, emotion. It kept me on the edge of my seat throughout and I never once felt like checking the time because I was so enthralled from the beginning. This is definitely a film that has easily become an all-time fave for me just after one watch. Now brb as I go watch his previous film Shoplifters.

Monster

[treelibrarydream · 9/10 · 2 March 2024]

The way a fire does, the beginning takes up the attention of the viewer. There are multiple sides to a story and the time sequences captivate these sides fairly. At first it seems the film is about bullying; bullying of teacher upon student or perhaps student upon student or later in a more complex form, of student upon teacher. However, there is more complexity and depth to this story. And a real example of such a case would be very worrying. And in trying to understand the story - perhaps by my lack of patience - I have made mistakes, but that's ok. How much closer can life be portrayed? This is a film full of empathy.

A Labyrinth Unveiled: A Review of Kore-eda's "Monster"

[TheBigSick · 9 January 2024]

Hirokazu Kore-eda's "Monster" doesn't roar, it creeps. It begins with a familiar premise: a concerned mother, a troubled son, and a school incident sparking whispers and suspicion. But within this seemingly ordinary frame, Kore-eda paints a masterpiece of intrigue, where secrets unfurl like layers of an onion, surprising us at every turn.

The screenplay is a masterclass in misdirection. Just when you think you've grasped the narrative, it shifts beneath your feet. Characters shed their skins, revealing hidden motivations and vulnerabilities. Each revelation feels organic, not a forced twist, but a natural progression of the intricately woven story.

And what a story it is! Kore-eda weaves together seemingly disparate threads - a bully facing his own demons, a teacher haunted by the past, a single mother's relentless quest for truth - and braids them into a tapestry of empathy and suspense. He forces us to confront our own biases, to question perceptions, and to acknowledge the monsters that lurk not just in shadows, but within ourselves.

The film's true strength lies in its characters. Kore-eda infuses even the most peripheral players with depth and nuance. He avoids easy binaries, portraying "monsters" with heartbreaking vulnerability and heroes with their own shades of darkness. The young actors, in particular, deliver performances that are both raw and poignant, capturing the complexities of childhood with astonishing authenticity.

The film's beauty lies not in grand spectacle, but in intimate moments. A whispered confession under a starlit sky, a shared meal that cracks open unspoken truths, a child's tears revealing unspoken pain - these are the scenes that linger long after the credits roll.

"Monster" is not a film that screams for your attention; it draws you in slowly, patiently, whispering its secrets in the quiet space between scenes. It's a film that rewards slow savoring, one that invites multiple viewings to fully appreciate its layered complexity.

If you're looking for a film that will keep you guessing until the very end, challenge your assumptions, and leave you pondering the depths of human nature long after the lights dim, then "Monster" is a must-see. It's a testament to Kore-eda's masterful storytelling, a labyrinthine tale that reveals not just the monsters we fear, but the humanity that binds us all.

The Roshomon Effect On A Gutsy Tale of Child Abuse & Effiminacy

[SAMTHEBESTEST · 7/10 · 6 February 2024]

Monster Review :

Hirokazu Kore-eda's Monster's Monster follows the pathbreaking "Roshomon" theory, which was used in Japanese cinema by Akira Kurosawa in 1950. Those who are aware of the Roshomon effect will understand this movie better than others, because that's the fun part, you know, knowing this pathbreaking theory for years and how only a few of them could get it right. Besides the Roshomon effect, Monster is a gutsy film as it attempts to explore sensitive topics like child abuse, school bullying, effiminacy, and gay romance at an early age (too early, I believe). This might just leave you disturbed for a while because you don't expect school boys to be part of all this.

The film is about a single mother, Saori Mugino (Sakura Ando), and her son, Minato Mugino (Soya Kurokawa), who is about 10 years old. Minato's strange behaviour lately worries Saori, which leads to a revelation about Minato's schoolteacher, Mr. Hori (Eita Nagayama). Hori is accused of physical abuse by Minato, which shatters his professional and personal lives. He loses his job as well as his girlfriend. Hori reveals to Saori that her son is bullying another student, Yori (Hinata Hiiragi). Saori and Hori both begin to look at the details of the matter, and both find different facts. The narrative unfolds in flashbacks twice, first from Hori's point of view and then from Minato's point of view. Who is lying, and what are the facts? How is it related to bullying, child abuse, and effiminacy? Find out all the answers in the movie.

Yuji Sakamoto has written a smart script for today's time. It's an artistic theme compiled with mainstream cinema. The screenplay feels a little slow in the second half because the results are already known. Also, the conversations aren't that engaging, so you feel like taking a nap for a minute or two. Forgiving that, you can always look for pluses and how this film is ahead of its time-not for Japanese audiences but for audiences in foreign countries. The Japanese audience already knows the Roshomon effect from 1950; it might be others who aren't aware of it. So for them, it's daily milk, while for others, it must be a honey cup, coming once a month. Moreover, it is such a gutsy film for contemporary cinema. How many movies look at children's romance, and is that too in a taboo category? We hardly get any bisexual, lesbian, or gay romances nowadays, and then there is Monster coming up with a taboo love story about school boys.

Monster is led by a child artist, Soya Kurokawa, but don't even think for a minute that he would perform like a child. He has done a great job, like a mature artist. Yes, he asks some childish and stupid questions just to show out his age, but the maturity he shows in those intimate and emotional scenes is damn impressive. The same goes for Hinata Hiiragi, who has a few punchlines and some major scenes despite his low screen presence. Eita Nagayama shows how it's done without losing momentum, whereas Sakura Ando's leaves no stone unturned to win you over with her performance. The small roles of Mitsuki Takahata, Akihiro Tsunoda, Shido Nakamura, and Yuko Tanaka aren't great, but fairly okay.

Ryuto Kondo camerawork speaks with images that have graphical appeal and meaning as well. A few slow pauses are somewhat irritating, but again, it's the fault of the editor too. Hirokazu Kore-eda has edited the film himself, so one can say that he was just expanding his own vision. It took longer than expected, though. He could have shortened it, for sure. Ryuichi Sakamoto's music and production value looked fine. Hirokazu Kore-eda's direction skills are much better than his editing skills and slightly lower than his writing skills. Monster is a great script, is all I mean here. It's a bit slow and less emotional, and that's why it falls short of what we call "modern classic." Nevertheless, it is close to that tag, and it's a big achievement in today's times. Strongly recommended to quality cinema lovers who have stomachs and appetites for new styles of filmmaking and stories. Once again, thanks for regenerating "Roshomon".

RATING - 7/10*

By - #samthebestest.

The Power of Perspective and Young Love

[juniorisntonline · 9/10 · 21 March 2024]

I think this movie is best when you go in with no context, but the thing that makes this movie the best enjoyed is knowing one key detail. This movie is broken up into 3 parts, each a new perspective. Each revealing more and more details until the last perspective.

This is a great film for exploring societal expectations and the power of rumors/perspectives. Since we cannot read each other's minds, we seek to judge based on the limited information we can get. This is a core part of the movie.

Along with these societal expectations, we see the young love form between two young boys and how they're impacted. I don't think this is a story that could've been told if they were not gay. Because it isn't just about falling in love as a child and escaping reality together.

It's specifically about these two boys and how people are keeping them from being open about their love, causing them to hurt and feel outcasted. Like they're monsters and something is wrong with them. They're impacted because of how boys are 'supposed' to be and behave.

This is a full film. There's a lot to digest and it's just a great movie. Other than the first part of the movie feeling a little slow and not a lot of clarity, I deduct a point. But otherwise, the acting is amazing, the sets are gorgeous, and the film is beautifully shot.

Truly one of my favorite movies made to date. 9/10.

Strong multinarrative approach but some weak plot points

[rocknroll-16959 · 7/10 · 20 March 2024]

The film excels at portraying the same seemingly simple story from different perspectives. It is efficient at untangling a scenario based on childish lies, misunderstandings, and bad luck. The approach is perfect for analyzing the perspective of the kids with often illogical motivations, while usually not with bad intentions. Furthermore, different angles work well for taking a look into Japanese society, where many things are not expressed literally, and a lot of verbalization is avoided to save face. Often sacrifices are made just to maintain stability, not to seek the ultimate truth.

It succeeds in deconstructing the power of unintentionally mean remarks, which among kids start to live a life of their own and might grow from an egg to Godzilla.

On the downside, I do not buy into the love story. Firstly, the boys are too young to make the viewer believe the attraction is truly of a romantic nature. A much more believable line would be obsessive friendship, which is quite common among kids. Secondly, the romantic edge discredits the concept of friendship among boys as inherently gay. It might help to win awards for LGBT movies, but it does a disservice to the plot, cohesion of the movie, and even the general goal of carefully exploring preadolescent masculinity.

Kore-eda delivers perhaps his greatest work

[martinpersson97 · 10/10 · 27 December 2023]

Hirokazu Kore-eda needs little in terms of introduction, being one of the most internationally hailed and appreciated directors, and a true standout in Japanese film history.

This is very much one of his most nuanced, indepth, and overall best dramas throughout his career.

It leans on the untold, the subtelities, and the idea of both sides of a story. Much like the Danish masterpiece Jakten by Thomas Vinterberg. But even one step beyond that. The actors all do an incredible job, the adults and younger actors alike, masterful script and acting.

The cinematography, cutting and editing is masterful, very much in line with Kore-eda's style, and extremely beautifully put together.

Overall, indeed a masterpiece, one of the best of the year, and perhaps the director's best. Highly recommended for any lover of film!

Beautiful told

[qeter · 7/10 · 24 October 2023]

Seen at the Viennale 2023: I wonder, how a good writer can put so much content into 2 hours. Such a good storytelling! A mother, a teacher, a school director and two children. The story is perfectly constructed in such a way that nobody understands the doing of the other person, because people seldom look closer into the truth (or ask the right questions), but interpret within their very own mind frame.

The two boys play wonderfully and the movie shows the enormous potential of children, when the parent's leash is not too tight.

There was some sort of Happy End and hope, when we left the cinema. And the lesson's learned, to look closer to the truth and not own interpretation, if someone gets into trouble.

Bad Babel, with some upsides

[Johannesn · 4/10 · 8 January 2024]

The movie consists of about 3 parts, but only the last part and the first 15 minutes are really watchable.

In fact, the whole movie can stand on its own if they had only kept that.

It's the old theme of a story with many different misinterpreted perspectives (and finally the true events) which unfold in a fashion where we witness the events again and again from new perspectives, where the misinterpreted perspectives in the end have crucial consequences for the innocent.

The movie did have some quirky or interesting scenes about Japanese culture and landscapes, but the school parent/teacher drama in the middle of the movie was excruciatingly boring.

I understand the purpose of the movie, and I did like the ending (which by the removed fence implies that they died), but the movie-making abilities fell short of the vision.