‘Monster’ (2023) Review: Three Perspectives in a Limbo
Hirokazu Kore-eda’s Monster is a dark, twisted tale of betrayal, friendship, and family issues. It is told from three perspectives: a mother, a teacher, and a child. The movie follows a single mother who deals with her young son’s strange behaviour. She becomes convinced the teacher is bullying him, but the story doesn’t stop there. Each chapter reveals the truth and brings tension and drama. It raises a simple question: “Who is the monster?” Is it the young son? Or the teacher? Or is something else festering in their lives that viewers don’t see yet? Kore-eda keeps challenging the viewer’s expectations of the truth while showing different viewpoints that become twisted beyond repair.
Monster starts with a burning building. At home, a single, widowed mother, Saori (Sakura Ando) and her son, Minato (Soya Kurokawa), stand on their balcony and watch the hostess bar turn into an inferno. Saori begins to notice little things about his behaviour. He cut his hair, and there’s also a gash on his right ear. But things escalate when Minato asks her if it is possible to stay human even if someone gets a pig brain transplant. Saori is adamant to know what is going on with her son. He finally admits that his schoolteacher, Mr Hori (Eita Nagayami), attacked him.
The next day, Saori storms into Makiko Fushimi (Yûko Tanaka), the principal’s office and makes a complaint about Mr Hori. The school concludes that it was a misunderstanding between Minato and Mr Hori; they bow and apologise to Saori, and she becomes furious. Mr Hori, against his colleague's wishes, confesses that Minato was bullying Yori Hoshikawa (Hinata Hiiragi), a boy in his classroom. From there, the events start to repeat themselves from different perspectives, as Kore-eda begins the story from the burning building.
What is fascinating about Kore-eda’s storytelling is that Monster is nothing like anyone expected it to be. The question: “Who is the monster?” peels away when the Japanese director returns to square one — the burning hostess bar — and begins the story again with different people. It unravels the truth slowly and reveals a different perception of the same event. As viewers watch the different perspectives, it’s clear that each character struggles with their own issues. But why did Kore-eda choose to tell this story from different perspectives?
The closer audiences get to the truth of “Who is the monster?” Kore-eda turns back the clock. Saori, Mr Hori and Minato’s lives are exposed in each chapter, and it’s mysterious. It focuses on Minator’s unravelling lie and begins a chain of events that frustrates a single, widowed mother, ruins the reputation of a schoolteacher, and the confusing emotions of a young boy. The movie doesn’t focus on anything outside of their lives.
In the first chapter, Saori’s life is simple. She has been raising Minato alone ever since her husband’s death. She makes sure that Minato finishes his homework and attends school on time. But even the most attentive mother might miss the clues. Like any mother, she believes Minato’s story. She tries her best to find other culprits who have seen Mr Hori hurt her son. There’s a sense of desperation and tension, and the viewer watching the first chapter will sympathise with the mother’s emotions. But just as the drama reaches the point where it reveals the truth, Kore-eda cuts to black and returns to the burning building.
The next chapter focuses on Mr Hori, and the viewers learn that he was wrongfully accused of physically attacking Minato. He accidentally struck Minato as the young boy acted unusual in class, which will be revealed at the end.
Before the reveal, the next and final chapter shows Minato’s perspective. Minato and Yori are friends, but the latter gets bullied by other kids in their classroom. It is suggested that Minato has feelings for Yori. But he doesn’t know how to deal with it. He tells Yuri not to talk to him at school. While Yuri is constantly bullied, Minato doesn’t say a single word. It bothers him, but if he steps up, he might get dragged under the rug, too. Minato’s frustration with his feelings hurts his friendship with Yuri. Instead of confronting the emotions, Minato lies and lets the problem manifest. The final chapter unravels how it all began, and whether or not it is too late to change everything is left for the viewer to decide.
While the non-linear structure conveys clarity to the truth, it also reveals another aspect. The screenplay, as well as Minato’s lies, are manipulative. Kore-eda shows that beginning the story from the burning building is meant for the viewer to understand the events of the central problem. The events stay the same, but the perspective changes every time. It’s easy to jump to false conclusions and punish people because society is built to pressure young children to adhere to tradition rather than let them flourish by themselves. Monster reveals that young children are often burdened with masculinity and family issues by the people who take care of them.
Monster is an exceptional film that follows two young boys being under the shadow of adults. It explores the lonely journey of children navigating the world through the guidance of their adult guardians, who don’t take time to understand their feelings until it is too late. Each chapter evokes a tense emotion mixed with the mystery of the question: “Who is the monster?” that Minato sings repeatedly. The answer is devastating, yet scary, but Kore-eda finds space to show the viewer a caring and humane portrayal of Minato and Yuri’s struggles in their friendship.
Here are some reading materials to learn about the genocide and ethnic cleansing in Palestine and the BDS (Boycott, Divest, Sanction) movement:
Books about Palestine on Verso Books
Books about Palestine on Haymarket Books
