From Jeff Nelson

From Like Father, Like Son to Shoplifters and Broker, filmmaker Hirokazu Kore-eda demonstrates a talented hand at weaving his stories with complex characterizations that dig far beyond the screenplay. He brings this skill to Monster, navigating multiple perspectives that gradually build into a heart-rending realization around lies and their consequences.

Saori (Sakura Ando) is a single mother to Minato (Soya Kurokawa), who suddenly begins to exhibit strange behavior. She’s convinced that something is wrong, tracking it down to Minato’s homeroom teacher, Michitoshi Hori (Eita Nagayama). Saori demands answers and action to be taken, but a surprising truth emerges through the perspectives of the child and his teacher.

Monster opens its story with a burning building in the middle of the city, which instantly inspires gossip when Hori is said to have been spotted near the hostess club inside. The flames are an omen of the events to unfold, as Minato cuts his hair, asks peculiar questions, and incurs injuries under mysterious circumstances. Saori’s point-of-view is the first of three that we see this world through, as a single mother does all that she can to ensure the safety of her child.

Next, Kore-eda puts the audience into Hori’s shoes, exploring a very different perspective. This is our first introduction to the events unfolding within the school, but it’s also an opportunity to expand on Hori’s life outside of the classroom. Finally, we get to see how Minato experiences these events, finding various truths between each of the three perspectives. 

Monster cautions us not to assume the worst in people, challenging humanity’s instinct to create our fiercest monsters in one another. Kore-eda slowly unveils the truth across the three perspectives, with each narrative further investing the viewer into its world and the characters within it, who are all fighting for what they believe is just. 

Yûji Sakamoto’s screenplay speaks volumes on religion and spirituality, specifically as they relate to rebirth. The characters in Monster view moral gray areas with a black and white lens, searching for the “monster” of the ordeal, but it isn’t so simple. Minaro looks to the next life, repeatedly questioning what it will bring himself and those around him.

Monster expands its tense, heavy subject matter into a beautiful and tender tale of friendship and love in its third perspective. It adds a great deal of depth to the story, appealing to our emotions in an entirely unpredictable way. However, this strength also leads to the film’s biggest issue — the ending. Sakamoto’s screenplay relies on an overused, cheap trope for an emotional punch, which comes across as insincere.

Monster is a fiercely intricate and empathetic tale that continuously builds on beautifully-drawn characters in a textured world with layers upon layers of thematic intrigue. The performances are tremendous across the board, never dipping into overdramatics. The finale’s missteps leave a sour taste, but Kore-eda’s magical touch remains impactful and memorable beyond the closing credits.

Rating: 4/5

Monster hits theaters on November 22nd, 2023.

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