User reviews

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.

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.

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.

The perspective from which we view a situation infallibly provides us with a clear, irrefutable picture of its truthfulness, right? But what happens if we encounter someone who witnesses the same incident and comes away from it with a totally different interpretation? Both views can't be "right," can they? Or is it possible that none of us can see the totality of a scenario and claim to know everything about it? That's the core takeaway from director Kore-eda Hirokazu's latest feature, an ambitious, skillfully crafted tale told from multiple vantage points, all of them "correct" in their own right, despite the myriad differences that distinguish them from one another, a storytelling technique first developed by Japanese master filmmaker Akira Kurosawa in the screen classic "Rashomon" (1950). Kore-eda's cinematic homage to the famed auteur, told in three separate but interconnected segments, focuses on the exploits of a rebellious pre-teen (Soya Kurokawa) seemingly prone to acting out as a bully. The youth's unpredictable behavior, however, doesn't tell the whole story. His actions appear to be cryptically interwoven with those of his overly protective widowed mother (Sakura Ando), his.young middle school teacher (Eita Nagayama), his aging, softspoken principal (Yuko Tanaka), and his effervescent best friend (Hinata Hiiragi), many of whom aren't always what they seem to be. There are forces at work here that are a cause for concern, prompting the often-asked question, "Who is the monster?", a query that provides the inspiration for this film's title. It's intriguing to watch how the picture's various story threads come together, reminding us of the old adage of not judging a book by its cover, poignantly illustrating that, no matter how much we may think we know about a particular situation, there's a good chance we'll never get a complete picture of it. Kore-eda serves up an eye-opening tale, one that gives us pause to think about our impressions and preconceptions in an age when many of us are all too quick to superficially judge what we see - and in a frequently flawed framework at that. The picture could stand to be a little more swiftly paced at times (especially in the final act), but this is arguably the director's best and most sensitive work to date, one that, we can only hope, will have the kind of profound impact we need in an age where open-mindedness and tolerance are traits we could all stand to develop to a much greater degree - particularly when pieces of the puzzle are missing.

I'm a fan of Kore-eda's feature films, namely the more Stream-of-consciousness movies from the earlier part of his career - MABOROSI, THE AFTERLIFE, & DISTANCE are among my favorites of his work from the mid-1990s to the early 2000s. In his subsequent films that seem to focus even more on social commentary via a neo-realist approach to story telling, Kore-eda managed to show just how good he is in directing children with little to no experience in acting to shine in NOBODY KNOWS and THE MIRACLE. In between, he experimented with comedy (HANA), a twist of fantasy collaborating with non-Japanese actors and cinematographer in AIR DOLL, and then back to more social-commentary and plot driven - some were Melodrama-esque, kitchen-sink films, and others he dabbled in crime whodunnit stories... all of which except for MABOROSI he took charge with writing the screenplays highlighting the fact these were personal stories and messages he wanted to share through the art of Kore-eda cinema.

While the 2 most recent Kore-eda films were overseas collaborations, they seem to show Kore-eda does his best work in Japan, and MONSTER (KAIBUTSU) shows how Kore-eda can shine even when the story isn't penned by himself.

To fans of Kore-eda's earlier films I'd mentioned above, MONSTER is much more story and character driven, and the story is much more accessible than his films prior to NOBODY KNOWS. Many film critics have highlighted the RASHOMON-like approach to story telling. While the technique is similar, the point intended is very different from Kurosawa's use of POV story reveal - Kore-eda uses POV to reveal the truths in the story, while Kurosawa uses perspective story telling to show the audience there is no objectivity with human memories - people will choose to remember and recall memories that isn't necessarily true, but serves to protect their self-interests.

To me, MONSTER has all the heart, humanity, and social commentary that I love from Kore-eda films, but it almost is too accessible for it to be a Kore-eda story - fair to say it isn't his story as he didn't write the screenplay this time. It actually feels like a Shunji Iwai film to me, and some scenes in MONSTER reminds me of Iwai's ALL ABOUT LILY CHOU CHOU. The ending of MONSTER, to me, has a tone & manner that reminds me of Studio Ghibli films like ONLY YESTERDAY (not by Hayao Miyazaki but the late director Isao Takahata) - the messages, the social commentary, the music cues and clues to the ending (if you consider lens flare and changes to the set props) are all so clearly planted - in fact, I wouldn't have expected Kore-eda to feel the audience need to get the ending, but he seems to want to make sure we do through Easter-egg-type devices in the movie (Pay attention to scenes showing the train tracks if you don't know what I mean)...

Is Kore-eda back in good form after dabbling with his French and Korean collaborations? The audience is the best to judge, but being a Kore-eda fan, I enjoyed MONSTER even though I was hoping for a film with less of the planted clues/cues, and this is from me who don't mind the Ozu-esque long takes(MABOROSI, THE AFTERLIFE), 10+ minutes of seeing feet on grass being lost in the woods (DISTANCE), or dialog so subtle you could easily miss that one line about vengeful hate that will make your heart sink (STILL WALKING)...

Last but not least, MONSTER was awarded the Queer Palm prize at Cannes - while I have no intentions to provide a spoiler here, but by virtue of winning the Queer Palm, MONSTER is now considered to be endorsed by the LGBTQ community - the fact that one reaction from a character towards another in one scene can turn what is otherwise no more than fondness/comraderie for children into a sign of Romantic Love, that which for boys at that age when companionship doesn't need to be associated with the idea of romance, let alone sexual orientation and preferences to validate and distinguish (I'm thinking more Mark Lester & Jack Wild in MELODY (1971), the characters of Jean and Julien in Louis Malle's AU REVOIR, LES ENFANTS (1987) and not the characters of Leo & Remi in a much more B/Romance-Losses-Causes focused narrative in CLOSE(2022)) - that one reaction so deliberately planted into the one scene is to me very un-Kore-eda. In my opinion this was done to ensure the audience get the intention without any doubt - wasn't necessary and seemed too deliberate for a Kore-eda film... but then and again, he didn't write the screenplay, and this must have been written deliberately as a key plot-point so to broaden the audience appeal.

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.

'Monster (2023)' is the latest drama directed by Hirokazu Kore-eda. It takes a puzzle-like approach to its story, presenting the same events three separate times from different points of view. Initially, it feels as though the film's primary theme is that of perspective, how we can never truly know the truth - such as it is - of a situation or a person and how that's doubly applicable if the people around us don't feel comfortable enough to tell us how they feel. The first two thirds compound this theme by setting something up, then subverting it. The final third, though, doesn't feel as though it's playing with the idea of subjective reality so much as it is presents what 'really happened' in the two acts that it follows. This isn't strictly true, as it still relies on putting us in a new pair of shoes and allowing us an insight into the internal lives of two characters previously only seen from an external viewpoint, but it definitely seems like the feature itself values this version of its events as an objective reality and, in essence, the thing the entire affair wants to comment on. Although it isn't totally divorced from the preceding movements (even if some key characters from those segments are all but entirely missing during it), it definitely seems to change gears somewhat and reveals a new thematic core. In theory, this isn't a bad thing, but in practice it just makes us wish that this core was given more time in the spotlight considering its eventual importance. The mystery of the first two acts initially seems like the crux of the film, but eventually feels like an unnecessary layer that obfuscates the beating heart of the affair. This beating heart is the most emotive element of the experience, even if it isn't exactly the most interesting and it's showcased with just a little bit too much sentimentality given its quietly devastating nature, so it's a bit frustrating that there isn't more time dedicated to fleshing it out. While frustration is an important aspect of the affair as it is, it should come from the narrative itself (as it does early on) rather than from the way in which the movie is constructed (as it does towards the end and in retrospect). There are also some small inconsistencies between the various sections, leading to some slight confusion in terms of what happens when, and some events are referenced but not shown which makes them feel out of place or even somewhat ingenuine. The film is also a tad too on the nose on occasion, something that's bolstered by the occasionally cloying score (despite being composed by the late legend Ryuichi Sakamoto).

Despite its issues, though, this is still an engaging and subtly powerful picture that looks gorgeous and features several really strong, somewhat understated performances. Although there are a few contrivances and slightly more heightened elements, the majority of the movie feels really genuine and realistic. The narrative is interesting and explores important themes without calling too much attention to itself. It's compelling and immersive in its own, somewhat delicate way. It does a good job of keeping you invested throughout its various twists and turns without ever feeling like an overtly twisty experience (as in one which exists primarily to pull the rug out from under you at certain points). It's a very well-made film in pretty much every area. Its problems don't make it bad, they just prevent it from elevating itself to the next level. It's very good, but it isn't quite great.

I know it seems like the negatives I've outlined outnumber the positives, but they definitely don't outweigh them. It's just a bit annoying that the affair essentially smashes two separate movies together - a mystery about perspective and a drama about (redacted) - and dampens the effect of both. Still, it's important to review a film for what it is rather than what it could have been. This is a well-made and entertaining experience that's emotionally impactful and consistently honest. It's compelling right the way through and touches on some important themes. Despite my hesitations with it, it's a really solid effort.

It's been a while since I've seen a movie with such a smart and yet unpretentious and delicately constructed script, all the while managing not to "flex" it's wiseness on the viewer like most western script-focused works do.

The movie takes three perspectives of charatcers with wildly differing outlooks on a situation, as well as problems in their lives, to guide you through a series of events that starts as looking like a typical case of teacher psychological and physical abuse, but, through the juxtaposing of these three different perspectives, manages to paint a picture with details and nuance hardly ever found on movies, and reveal that the issue was about something else entirely. With characters with complex emotions and issues, as well as not always clear or comprehensive actions, like real life human beings, it is a captivating watch.

With no spoilers, as I feel the movie works best going in without knowing a single thing about it, I can only describe or hint that there are no monsters at all in the movie, the 'Monster' in the title here would have been better translated as 'Beast', or something non-human, sub-human specially, and it is a commentary on how we are all made to feel sub-human sometimes for the way we feel and how we act, a commentary on the shortcomings of humans as individuals, as well as the fact that this 'un-humaness' sometimes projected into us by our peers is in fact what makes us Human. Everyone in this movie (save a few non-protagonist characters) is capable of great love as well as great harm. As a troubled kid, deeply misinterpreted during my shcool years, who suffered abuse and neglect, but also caused great harm on others, I couldn't help but cry copiously during some scenes in this movie, and I can count on my fingers the amount of times I've cried during a movie. Acting is on point as well, with a special mention to the kid's duo who manage to protray an immensily complex and believable relationship. On a techical level the film is subdued, although it shines here and there (one scene specially): the photogrphy is nothing mind blowing, the same can be said for the soundtrack, but I feel these elements, that can often break the suspense of disbelief, ot take too much attention to itself when being over the top, was left purposefully barebones for the audience to focus on the characters and the stories being told. Excellent film, so far Koreeda's best (that I've watched) and I hope it wins as many Best Foreign Picture awards as possible.

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.

This film is amazing in every aspect and it's clear the director knows exactly how to make a masterful film. Anyone saying otherwise clearly does not understand the power of cinema, when done as well as this was. The story unveils itself in a way I haven't experienced with a film in a long time, forcing you to change perspectives every 5 minutes. You will go from hating characters to loving them in a matter of minutes. Full of everything you could want in a movie - mystery, drama, suspense, heart, emotion. It kept me on the edge of my seat throughout and I never once felt like checking the time because I was so enthralled from the beginning. This is definitely a film that has easily become an all-time fave for me just after one watch. Now brb as I go watch his previous film Shoplifters.

This film merges as a poetic masterpiece in the realm of cinema, particularly in its portrayal of childhood. This film artfully navigates the complex tapestry of a child's emotional landscape, capturing both the innocence and the trials of youth with a grace that transcends typical cinematic narratives. Through its subtle storytelling and nuanced visual language, "Monster" offers a profound reflection on the formative years, making it one of the most elegantly crafted films about children ever created.

The film exemplifies the exceptional ability of Japanese directors to delve into the joys and anguishes of a child's psyche with expert precision. The performances in "Monster" are remarkably understated, steering clear of the overt theatrical mannerisms often prevalent in Japanese cinema. This restraint allows the authenticity of the characters' emotions to resonate deeply with a diverse audience, marking a significant departure from traditional portrayals that might not universally translate across cultural boundaries. "Monster" not only captivates but also provides a resonant, cross-cultural insight into childhood, making it a significant work in both Japanese and global cinema.

Hirokazu Kore-eda's "Monster" doesn't roar, it creeps. It begins with a familiar premise: a concerned mother, a troubled son, and a school incident sparking whispers and suspicion. But within this seemingly ordinary frame, Kore-eda paints a masterpiece of intrigue, where secrets unfurl like layers of an onion, surprising us at every turn.

The screenplay is a masterclass in misdirection. Just when you think you've grasped the narrative, it shifts beneath your feet. Characters shed their skins, revealing hidden motivations and vulnerabilities. Each revelation feels organic, not a forced twist, but a natural progression of the intricately woven story.

And what a story it is! Kore-eda weaves together seemingly disparate threads - a bully facing his own demons, a teacher haunted by the past, a single mother's relentless quest for truth - and braids them into a tapestry of empathy and suspense. He forces us to confront our own biases, to question perceptions, and to acknowledge the monsters that lurk not just in shadows, but within ourselves.

The film's true strength lies in its characters. Kore-eda infuses even the most peripheral players with depth and nuance. He avoids easy binaries, portraying "monsters" with heartbreaking vulnerability and heroes with their own shades of darkness. The young actors, in particular, deliver performances that are both raw and poignant, capturing the complexities of childhood with astonishing authenticity.

The film's beauty lies not in grand spectacle, but in intimate moments. A whispered confession under a starlit sky, a shared meal that cracks open unspoken truths, a child's tears revealing unspoken pain - these are the scenes that linger long after the credits roll.

"Monster" is not a film that screams for your attention; it draws you in slowly, patiently, whispering its secrets in the quiet space between scenes. It's a film that rewards slow savoring, one that invites multiple viewings to fully appreciate its layered complexity.

If you're looking for a film that will keep you guessing until the very end, challenge your assumptions, and leave you pondering the depths of human nature long after the lights dim, then "Monster" is a must-see. It's a testament to Kore-eda's masterful storytelling, a labyrinthine tale that reveals not just the monsters we fear, but the humanity that binds us all.

Monster invites us to follow along the same timeline repeatedly three times, from seperate perspectives that differs a lot, yet the movie succeeds extremely well in stitching them together.

I find myself disliking characters that from one perspective are portrayed as the "monster" of this drama, but as it plays out more and more i reevaluate my judgement. Nothing is black and white, there's always another side to the story.

The cinematography is beautiful wich also adds to the experience.

It did feel very lengthy. Wich is ok, it could have been shorter, but some movies are suppose to be slow.. and even boring at times, similar to life itself. Ir.

Monster Review :

Hirokazu Kore-eda's Monster's Monster follows the pathbreaking "Roshomon" theory, which was used in Japanese cinema by Akira Kurosawa in 1950. Those who are aware of the Roshomon effect will understand this movie better than others, because that's the fun part, you know, knowing this pathbreaking theory for years and how only a few of them could get it right. Besides the Roshomon effect, Monster is a gutsy film as it attempts to explore sensitive topics like child abuse, school bullying, effiminacy, and gay romance at an early age (too early, I believe). This might just leave you disturbed for a while because you don't expect school boys to be part of all this.

The film is about a single mother, Saori Mugino (Sakura Ando), and her son, Minato Mugino (Soya Kurokawa), who is about 10 years old. Minato's strange behaviour lately worries Saori, which leads to a revelation about Minato's schoolteacher, Mr. Hori (Eita Nagayama). Hori is accused of physical abuse by Minato, which shatters his professional and personal lives. He loses his job as well as his girlfriend. Hori reveals to Saori that her son is bullying another student, Yori (Hinata Hiiragi). Saori and Hori both begin to look at the details of the matter, and both find different facts. The narrative unfolds in flashbacks twice, first from Hori's point of view and then from Minato's point of view. Who is lying, and what are the facts? How is it related to bullying, child abuse, and effiminacy? Find out all the answers in the movie.

Yuji Sakamoto has written a smart script for today's time. It's an artistic theme compiled with mainstream cinema. The screenplay feels a little slow in the second half because the results are already known. Also, the conversations aren't that engaging, so you feel like taking a nap for a minute or two. Forgiving that, you can always look for pluses and how this film is ahead of its time-not for Japanese audiences but for audiences in foreign countries. The Japanese audience already knows the Roshomon effect from 1950; it might be others who aren't aware of it. So for them, it's daily milk, while for others, it must be a honey cup, coming once a month. Moreover, it is such a gutsy film for contemporary cinema. How many movies look at children's romance, and is that too in a taboo category? We hardly get any bisexual, lesbian, or gay romances nowadays, and then there is Monster coming up with a taboo love story about school boys.

Monster is led by a child artist, Soya Kurokawa, but don't even think for a minute that he would perform like a child. He has done a great job, like a mature artist. Yes, he asks some childish and stupid questions just to show out his age, but the maturity he shows in those intimate and emotional scenes is damn impressive. The same goes for Hinata Hiiragi, who has a few punchlines and some major scenes despite his low screen presence. Eita Nagayama shows how it's done without losing momentum, whereas Sakura Ando's leaves no stone unturned to win you over with her performance. The small roles of Mitsuki Takahata, Akihiro Tsunoda, Shido Nakamura, and Yuko Tanaka aren't great, but fairly okay.

Ryuto Kondo camerawork speaks with images that have graphical appeal and meaning as well. A few slow pauses are somewhat irritating, but again, it's the fault of the editor too. Hirokazu Kore-eda has edited the film himself, so one can say that he was just expanding his own vision. It took longer than expected, though. He could have shortened it, for sure. Ryuichi Sakamoto's music and production value looked fine. Hirokazu Kore-eda's direction skills are much better than his editing skills and slightly lower than his writing skills. Monster is a great script, is all I mean here. It's a bit slow and less emotional, and that's why it falls short of what we call "modern classic." Nevertheless, it is close to that tag, and it's a big achievement in today's times. Strongly recommended to quality cinema lovers who have stomachs and appetites for new styles of filmmaking and stories. Once again, thanks for regenerating "Roshomon".

RATING - 7/10*

By - #samthebestest.

I am speechless after watching this beautiful movie, it redefines 'Childhood' in the modern era. Direction and screenplay was on point, and I was immersed in the whole 2 hours of the movie. It's been quite a while a movie has inspired me so much. The casting was amazing, the kid actors were on top of their game. I could watch this movie again, because it takes me back to my childhood, and my relationship with my mother. It highlights the gender nuances which can be challenging and confusing to a child at the same time. This movie reminded me of 'A beautiful life' & 'Stand By Me'. Highly recommended!

I'm not usually a fan of children leading films, but hats have to come off here for a really delightful performance from the young Hinata Hiiragi as the shy and shunned "Hoshikawa". We will get to him in a minute, but first the film is delivered in three parts as a fire slowly devours a city centre tower block. The first episode introduces us to "Minato" (Soya Kurukawa). He's a bright and friendly boy who lives with his widowed mother (Sakura Ando). She starts to notice that his behaviour is a becoming a bit erratic and after some investigation begins to suspect that he is being bullied at school. A visit to the recently bereaved Principal (Yûko Tanaka) reveals that his teacher "Hori" (Eita Nagayama) might be the culprit and apologies are made. The next segment takes up the same story, only this time we look from the perspective of the teacher, a caring and enthusiastic professional. Though there are similarities between the two scenarios, the conclusion from the first doesn't quite tie up with the information from the second. Then to the final instalment where the two boys take and hold really well the centre stage of this drama and we get to grips with the puzzles set already and discover more about their complex characters. It's this third phase that is quite captivating to watch. The older boy must tread a thin line between a peer pressure that thinks his friend is odd, even that he has "a pig's brain" whilst he, himself, realises that "Hoshikawa" is a friendly, curious and loyal lad who has quite a few domestic demons of his own to face, on pretty much a daily basis. Amongst the adults, there's plenty going on too. The head teacher is clearly sitting on a fairly hefty secret of her own and "Mr. Hori" faces a series of predicaments that reminded me a little of the recent "Teacher's Lounge". A typhoon, some tunnels and an old railway carriage provide a perfect focus for the concussion that isn't so much that, it's an invitation to see what might happen next. The director excels here at putting us into the minds of the children and of the adults whilst also allowing our own observations to watch a story of two young children at a sensitive stage of their lives - and it really does make you think and reminisce about your own childhood in equal measure.

The movie is comprized of a bunch of scene snippets in no particular order. You are sure of in what order they happened, and you find yourself wondering "what the heck is going on" through most of the movie. Not my cup of tea. When I think back over the movie, it seems that the way the story (whatever it was) was told in a way to deliberately mislead you a lot of the time. If you like movies that are very ambivalent and leave it up to you to draw your own conclusions, then this movie if for you. On the other hand, if you like movies that tell a story in a clear and concise manner, then forget this one. I don't know why it got such high reviews.