Films

Monster

Contributed

10 Jun 2024 — 1 min read

By Jack Weir

Hirokazu Kore-eda’s latest film is a tender portrait of the connection between two young boys told from a number of interwoven perspectives in a deeply moving mystery that recalls the structure of Akira Kurosawa’s Rashomon nearly 75 years ago. 

Monster is a film that regularly evolves as context clues are revealed; it’s thrilling mystery from the outset soon makes way for a tragic and touching fable about Monito and Yori finding themselves in a society that rejects them. Soya Kurokawa as Monito and Hinara Hiiragi as Yuri deliver compelling, emotionally resonant performances that are some of the strongest I’ve seen from child actors. The film’s soundtrack is ethereal and other-worldly, complementing its cryptic narrative. 

Kore-eda gravitates thematically towards unconventional found families as he did previously in Shoplifters and Broker, but this time emphasises the follies of these families in supporting young boys without strong father figures. Monito and Yori face social pressures which serve to isolate them from their families and teachers. This internalisation leads to confusion, and the ever-shifting point of view forces the viewer to mirror the adult’s misunderstanding of Monito and Yori – a fallacy with devastating consequences. The film is exceptionally shot, its visually-stunning roaming camerawork is able to enlighten an audience without relying on straightforward exposition. 

Fundamentally the film challenges the viewer to draw their own conclusions on its central question: Who is the real monster? The complexity of this question is slowly revealed through Monster’s surprising twists and turns, leaving an emotional impact that lingers long after its runtime.

Jack Weir studies Film at  Edinburgh Napier University.

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