As tranquil as a suburban evening can be, the serenity of a Japanese neighborhood is cut through by the glow of a fierce fire, witnessed from the vantage point of a mother and her son at their balcony. The boy, Minato, nonchalantly pivots the conversation to something as bizarre as the possibility of pig brain transplants in humans. His mother, Saori, played by the expressive Sakura Ando, initially dismisses this eerie notion—kids do have a vivid imagination, after all. Yet this seemingly innocent remark burrows deep into her mind, setting off alarms about who might be shaping her child’s thoughts.
Changes in Minato, portrayed by the talented Soya Kurokawa, mark the initial narrative progression. From a period of withdrawal, he slips into a sullen demeanor often associated with the throes of puberty. However, his eccentricities progress far beyond the expected. A peculiar obsession with cutting his hair and an unsettling episode in the woods, where he stands alone, screaming into the darkness, “Who is the monster?” thrust Saori into a state of maternal investigation. The trail leads to Minato’s homeroom teacher, Mr. Hori, brought to life by Eita Nagayama in an enigmatic performance. After an incident in which Minato alleges that Mr. Hori struck him, Saori is convinced her son is the victim of bullying, especially after the school’s response is nothing more than a hollow, courteous apology.
The plot thickens with the suggestion that Minato might not just be the victim but perhaps also the perpetrator. Rumors swirl of him bullying Yuri, a sensitive student, with this dual narrative deftly supported and refuted in turns through a series of flashbacks. These scenes construct a puzzle of viewpoints, school activities, and the intricate web of relationships between the students, all while bravely navigating the challenging themes of queerness within a society known for its conservative stance on homosexuality.
Director Hirokazu Kore-eda masterfully crafts a multi-layered narrative that unravels the complexities of socio-cultural issues in Japan. “Monster” tells a gripping story addressing themes such as family dysfunction, bullying, and homophobia. It also takes a critical look at the ongoing influence of social media’s cancel culture, which alongside rumor-fueled ostracization and a dogmatic adherence to authoritative figures, weaves an intricate tapestry that forms the titular “monster” of social impropriety.
Yet, at its core, the film achieves something profound: a call to embrace one’s truth fully. “Monster” implores its audience to accept all facets of their identity, offering a narrative that tugs at emotions and with it, a sense of hope. This is more than a film—it’s a reflective piece of art that does not seek to draw villains but instead illustrates that every person is a product of their uniquely understood reality.
Kore-eda, who is no stranger to exploring familial bonds and societal issues in his previous works, arguably delivers his finest creation with “Monster.” The screenplay, penned by Yuji Sakamoto, ensures that this film stands as a cinematic marvel. Not only does it present an engrossing story but it also captures the very essence of humanity’s struggle with identity and acceptance in modern times.
“Monster” is deserving of acclaim and introspection, offering a rating of 3.5 out of 5. It stands not just as a tale to be enjoyed for its narrative suspense, but an invitation for empathy, understanding, and perhaps, a step towards a more accepting society. This film is a stark reminder that perhaps, the real monsters are not the creatures of myth and lore, but rather the conflicts and prejudices that reside within us all.
