L'innocence

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.

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.

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.

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.

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.