Monster

Composite Score: 84.03

Starring: Sakura Andô, Eita Nagayama, Soya Kurokawa, Hinata Hiiragi, Mitsuki Takahata, Akihiro Kakuta, Shidô Nakamura, and Yûko Tanaka

Director: Kore-eda Hirokazu

Writer: Sakamoto Yûji

Genres: Drama, Thriller, Mystery, Coming of Age, LGBTQ+

MPAA Rating: PG-13 for thematic material and brief suggestive material

Box Office: $21.67 million worldwide

Why should you Watch This Film?

                Monster is Kore-eda Hirokazu’s film about a single mother, her troubled son, his bullied friend, and their misguided schoolteacher. The film, written by Sakamoto Yûji, explores the same series of events from three perspectives, fleshing out more of the truth with each iteration. It starts with Sakura Andô’s Saori, mother to Minato (Soya Kurokawa), who becomes troubled when her son’s behavior becomes concerning and the teachers and administrators at his school attempt to put her off with generic and noncommittal apologies and excuses. The film then circles back and examines Minato’s situation from his teacher’s, Mr. Hori (Eita Nagayama), perspective, whose experiences give insight into a troubled relationship with his classmates, revolving around a particularly bullied student, Yori (Hinata Hiiragi). The film’s final perspective shift takes us back to the beginning one more time, this time taking us through the days and events with Minato at the center, revealing the truth of most of the film’s central misunderstandings. While the film missed out on some potential wider acclaim when it was passed up by Japan in favor of Perfect Days for the country’s International Feature submission to the Academy Awards, it still garnered critical appreciation, particularly for its screenplay, which won Best Screenplay at Cannes, and for the performances of the two young actors at its center.

Why shouldn’t you Watch This Film?

                Split perspective is undeniably a storytelling gimmick, and even when it’s as well-done as it is in Monster, there’s still something that feels gimmicky about it. The film’s first two acts intentionally cut away from moments of conflict and potential revelation in order to save all reveals and resolutions for the final act and conclusion, leaving some scenes completely unresolved in favor of preserving the air of mystery and suspense that the story invokes. It certainly works, keeping you hooked even as it potentially frustrates you, and the payoff that comes in the last act certainly makes up for that frustration. It still bears mentioning, though, that this is definitely a film that you’re going to have to be patient with to receive the fullness of its impact from its conclusion.

So wait, why should you Watch This Film?

                Gimmicky though it might be, the story that unfolds as Monster progresses is creative, poignant, and original, striking at the heart of intergenerational relationships, coming of age, and education systems all at once. Once you know the (mostly) full truth by the end of the film, its themes also become much clearer. Like so many of Kore-eda’s films, the predominant focus is on the relationships between children and adults, this time exploring the specific ways that adults project onto the stories of children by either trusting them too much or not giving them enough credit, as showcased in the treatment of Minato by his mother, his teacher, and his principal – each exemplifying a different level of understanding. At the same time, the adults’ interactions with each other also flesh out some of the more surface-level themes of societal norms around education, cultural stigmas surrounding propriety, and differing styles of discipline. Finally, the relationship between Minato and Yori opens a window (literally sometimes) into the world of children, self-discovery, growing up, and standing up for yourself. Altogether, Monster offers many potential monsters, who are actually all humans, informed by their relationships with others with varying perceptions and opinions depending on the viewpoint (though I will fully stand by anyone who wants to argue that Yori’s father is the film’s titular monster).

                By framing its story around the nature of relationships and perceptions, Monster invites its audience to better appreciate and accept the “others” in our lives and to seek to consider others’ circumstances before slapping them with labels or accusations, a sentiment more than deserving of a place of greatness. The gimmick of its storytelling might create some frustration in the early going, but it all becomes worth it when you get to the third act, so I’m begging you to tough it out if you think about quitting halfway through. You can currently rent this film on most streaming services if you’d like to watch it in the near future.