L'innocenza

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.

I was lucky to catch this at TIFF, and also lucky to see it with the director in attendance.

I really don't think I can write anything eloquent enough to do justice to this film. The story is deceptively simple, told in an ingenious way, with a multidimensional understanding of each and every character. Every minute is crafted with purpose.

At one point near the ending, there's a moment of dialogue between two specific characters. I'm not going to give any details to avoid spoilers. These characters said some simple lines, but these lines were so devastating and emotionally pure that I can hardly describe it. The screenwriter and director made it all look so simple, yet something like this can't easily be replicated or achieved.

And the ending. I left the theatre thinking one thing, and then with more thought, it hit me like a train hours later.

I don't know when this will come to theatres, but I'll be eagerly awaiting its release.

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.

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.

The story isnt that complex but the journey the film maker takes us on is complex, exaggerating along the way the opacity of the conundrums facing the subjects. Life is difficult, until you see the end result, so navigating life can be extremely taxing and frustrating. This movie is called Monster, meaning that assumptions are often the monsters that they lead us down painful paths, often unnecessarily.

This is a deeply compassionate film. It requires an investment from the viewer but pays off handsomely in the end. This is a filmmaker who is improving with every release. Soon he will be in the same strata as Park Chan Wook.