Monster

The plot of the story is very complex and filled with mystery until the end. Not to mention that there are 3 perspectives being told so that we as viewers are confused about what is happening. The plot moves quickly, but the plot is to the point, so we are not allowed to look away from the screen for a moment. Coupled with the cinematography, it makes us feel more comfortable watching this film, and of course don't forget the neat background music.

Of course, it is thanks to the collaboration of Kore-Eda, Sakamoto Yûji, and Sakamoto Ryuichi that this masterpiece was born. And also the actors who succeeded in playing their characters well.

The "monster" is just a perspective.

The two kids’ performances are truly impressive! The layers of emotions intertwining and fluctuating really weigh on the heart. Thankfully, it gives a bright and uplifting ending.

It’s about self-identity. In the first two parts of the story, the various problems of the adult world stem from the emotional conflicts of children who can’t accept their true selves.

With elements of suspense, a three-act structure, and multiple perspectives, this story is much more engaging than Shoplifters. Shoplifters was honestly quite dull, while this one has a lot more dramatic flair.

Now that I think about it, many great films focus on sexual orientation, but in reality, they’re just using it as a way to tell similar stories: people who can’t accept parts of themselves create conflicts in a world that forces them to conform. In the mix of sameness and difference, sexual orientation is just a shell often borrowed by films.

This movie tells the story using elementary school kids as its subjects, while also exposing the ugliness of the adults around them. Whether it’s the loving mother, the abusive father, or the teachers, they all distort the children’s natural personalities. It’s a lot of satire, too.

But if we’re talking about real monsters, I’d say the elementary school student reincarnated as Ando Sakura in Rebrish My Life is the real deal.

"Monster is an electrifying journey into the depths of human psyche and morality. Through its riveting narrative and impeccable performances, it challenges viewers to question their perceptions of justice and empathy."

What a great movie. Hard story but told in a smart way. Wasn’t sure what was really the truth at first. More and more was revealed as the movie progressed. Not going to spoil the ending, but I think it absolutely fits the story. Just watch it, you won’t regret it.

There’s a few moments in here that can feel contrived or forced (especially during the segment focussing on the teacher), but this is still an amazing film. Thematically it reminded me of _The Hunt_, while structurally it’s of course more similar to _Rashomon_. Every film that’s structured like that tends to play with context and perspective, and _Monster_ is no different. It’s very much a statement about the different flaws everyone makes when making sense of the world. Emotionally it’s also quite a rollercoaster thanks to all the different plot twists, in fact this is the type of puzzle box I could even see satisfying the Nolan fanboys. It’s fast paced but remains very accessible all the way through, while still rewarding those that pay attention to the details. Technically it’s of course fantastic, this is a Kore-eda film. I like that it still carries that peaceful, meditative feel of most of his other films, though there are a few times where some of the piano motifs reminded me too much of _The Social Network_. Overall, highly recommended for its gripping storytelling, precise direction, amazing performances (especially from the younger cast) and beautiful visuals.

8.5/10

Maybe the best movie I have watched this year. Now to just wait until the universe bursts.

I ended up watching this super late, basically a midnight showing. I was very worried that a foreign drama very late in an empty theater would put me to sleep, but no, I was fully engaged. I went in without really knowing anything about the movie other than the famous director. And I think that leads to an interesting experience, but there is no way to really review it without discussing it at a high level. This is similar to Rashomon where the usage of perspective is heavily explored. It starts by exploring events across a few days from one angle, then shifts it to another. It's fascinating just from a technical level because it actually ends up being a bit of a mystery box. You need to keep track of small clues, and see how they morph from different angles. But at the same time, I do think it becomes a bit challenging. My one complaint would be that this storytelling trick sometimes showcases the hand of the director a bit too much. By that, I mean that sometimes the way things are hidden, or the way they get recontextualized, feels less organic and more for the sake of the story. But I would say that only applies to less than 10% of the overall events. Also, to avoid repetition, after switching perspectives, the movie does not hold your hand. It jumps between events, letting the viewer extrapolate what happened given their new understanding of motivations/sequence of events. I enjoyed that, but every now and then I did find myself getting a bit confused with the timeline, thinking something had already happened before it did. A lot of my review has been on the technical/plot aspect of the movie. Partially, because I enjoyed it and found it innovative, but also because talking about the emotional/thematic core would certainly be spoilers. Suffice it to say, I found this movie haunting and beautiful, and an excellent exploration into what really constitutes a "monster" in society.

I'm so sad man mobbing is so bad the poor little guy so many people who were shit and in the end you only feel like shit yourself

Hirokazu Kore-eda once again proves his talent for exploring the complexity of human relationships in “Monster,” a drama that unfolds in a meticulous and emotionally engaging way. With a fragmented narrative full of twists, the film challenges the audience’s expectations by presenting multiple perspectives on the same event, expanding our understanding of the characters and their motivations without ever offering definitive answers. This approach, far from being just a narrative gimmick, helps build a profound portrait of the human condition—where there are no clear heroes or villains, just people dealing with their own limitations and mistaken perceptions.

From the very start, the film presents itself as a mystery centered around Minato (Soya Kurokawa), a boy whose unsettling behavior worries his mother, Saori—portrayed with great sensitivity by Sakura Ando. The suspicion that he might be experiencing abuse at school, particularly from his teacher Hori (Eita Nagayama), initially feels like a familiar and straightforward narrative. But Kore-eda quickly deconstructs this idea by introducing additional layers of meaning. The story broadens as it incorporates the teacher’s point of view, along with others, revealing how events are shaped by each person’s subjectivity. This “Russian doll” structure not only enhances the film’s emotional impact but also reinforces the idea that truth is always a partial and fragmented construction.

The subtle, contemplative cinematography of “Monster” is one of the film’s greatest achievements. Kore-eda uses framing that often places characters in vast, empty spaces, emphasizing their isolation and the lack of communication between them. The soft colors and natural lighting help create a melancholic atmosphere, where emotions are restrained but deeply felt. Ryuichi Sakamoto’s soundtrack, with its delicate and introspective compositions, adds an extra layer of emotion, working almost as an extension of the characters’ unspoken feelings.

Another major strength of the film is the cast’s performances, especially the children. Kurokawa, in the role of Minato, delivers an incredibly natural and moving performance, capturing the complexity of a child trying to navigate his own identity and the expectations of the adults around him. Hinata Hiiragi, as Yori, is equally impressive, bringing an authentic vulnerability to his friendship with Minato, making their interactions genuinely touching. Their dynamic is the heart of the film, showing how children can find solace in each other even when the adult world around them feels oppressive.

However, “Monster” is not a film that seeks easy solutions or clear-cut answers. Its fragmented structure might be frustrating for some viewers, as it requires patience and attention to the subtle details Kore-eda scatters throughout the narrative. The film doesn’t provide a cathartic resolution but instead offers a deep reflection on misunderstandings, rushed judgments, and the empathy that is often missing in human relationships.

Overall, “Monster” is a powerful and delicate work that reaffirms Hirokazu Kore-eda’s unique talent for telling complex human stories with remarkable sensitivity. By exploring themes such as friendship, guilt, and the search for understanding, the film invites us to look beyond appearances and consider the multiple truths that coexist in any story. It’s a truly unique cinematic experience that sparks reflection on the relationships we build and the judgments we make.

I wholeheartedly recommend seeing Monster if you get the chance- as with Anatomy of a Fall, if you like it as much as I did you will want to see it again to fully appreciate its intricate, looping structure. It starts appearing to be about bullying and mental illness in a pre-teen’s school in Japan, but you soon learn it is much more than that. It wrong-foots you with each iteration, but it never felt to me like it was unfairly withholding information, and instead of merely repeating each version from a different angle, each strand adds new depth and richness to the first. It starts in a realist mode, and seems to drift into magical realism as the film goes on, but on a second viewing (which I have not had the chance to do yet) it may turn out to have been merely dream-like in places. I was left with the impression that there are narrative loose ends that were not tied up, but I might just have missed the resolution. And despite the title and some unsettling early scenes, in the end I felt moved and uplifted. The setting is prosaic, but shot inventively. The intricate plot tended to dominate my attention - I wasn’t as impressed by the acting on the whole, but that might have been a difficulty in “reading” Japanese acting and culture - in any case, the film’s other qualities kept me enthralled.