The acting!!!
This Drama is so well acted, it blew me away! Probably one of the best I’ve seen. The story/plot is a bit confusing at times. It’s the kind of drama that goes back and forth between current life and past life to build the story. It gives each character involved their point of view on the subject at hand. It is frustrating at times, but only because you want the truth to come out for everyone involved. This is a well written, directed, produced, and especially acted Drama. The child actors have a bright acting future ahead of them! I will absolutely watch this again. I’m sure when I do, I will pick up on things I missed the first time around. I especially liked the ending. When you watch it, you’ll know what I mean. I finished this Drama days ago, but it is still in my head. It’s that kind of Drama. I’m sure all you Drama lovers will know what I mean by that. Some stay with you, and some don’t.Was this review helpful to you?
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"you were always normal"
Monster is one of the most gut-wrenching movies ever. It follows two children, Minato and Hori, who form a close friendship. This is one the most important film I have ever watched. I cried so much after watching this, my tears couldn't stop. What the poor boys went through at such a young age, society telling them they can't be this, they can't love who they want without being happy. Watching this has made me hate society and how much pressure we put on children to act a certain way, not just children but people. We have to act a certain way to deem fit to society. Society is the one that created the monster and they impose rules on what we should do and who we should love. People who created this heteronormative society are the real monsters. The boys did nothing wrong yet society kept telling them they were sick, that they had a pig brain, that they were a monster. They told themselves they were monsters but they weren't, the real monsters were the bullies and hori's dad. I feel heartbroken after watching this. I just want the two boys to be happy and love who they want, I want to tell them that there's nothing wrong with them. That they aren't monsters. I hope watching this movie will encourage others to be accepting and to love each other without restraints. One of the greatest films I have ever watched, I'll never forget his.Was this review helpful to you?
"If only some people can have it, that's not happiness. That's just nonsense."
How could a movie went from basic and boring mystery, into a heartwarming yet gut-wrenching coming-of-age story? 😭As bits by bits of the mystery gets unfolded through the lens of others, nothing is even more surprising than the third reenactment of the story, where we can finally get to know the truth, the full truth of all the mystery. The last few scenes were unapologetically gut-wrenching and saddening, and also was a typical "up to your interpretations" thing, but this film just made the perfect ending that let me crying at the final scene.
Let me be clear: some people on the internet have complained and trying to reclaim this is a friendship story, rather than a queer coming-of-age story. But I see it differently, your queer friends will see it differently, and thankfully a lot of you–cinephiles–see it differently. Maybe you should check your (queer) friends and I hope they will buy some time to tell you something different that I'd bet you never have to endure. It takes Monster to let us think again who's the true monster of it all.
P.s.: musical composition by Ryuichi Sakamoto feels like his final gift to us, rest in love.
Best Screenplay at 76th Cannes Film Festival (2023)
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A Story Told One Rumor at a Time
This was the second film by Hirokazu Kore‑eda that I saw; my first was Broker, and I didn’t even realize they were by the same director. From the very first shot, Monster pulled me in with how it shows one cruel rumor from different angles, each adding a bit more truth and a bit more pain. I felt completely trapped in those everyday moments because Kore‑eda’s slice‑of‑life style makes you live every heartbeat. It’s my favorite recent film, and afterward I dove into other titles from the director like Our Little Sister and The Shoplifters, confirming that Kore‑eda’s gentle, honest storytelling always gets to me.Was this review helpful to you?
Brilliant, heartfelt, emotional throughout
Monster is a movie that sticks with you permanently after watching it. It dives into perspectives filled with guilt, regret, confusion, love and purpose.Genuinely, this was one of the most emotional films I've ever watched in my life. The storytelling relates to so many aspects of being a queer child who is confused, lost, but seeks redemption just because the world doesn't want to be kind to you, and you don't know why. The way in which they weaved through the different perspectives to the very last was a brilliant capture for the why, how, and what.
The cinematography is beautiful and has such a nostalgic atmosphere to it that I can't describe. Basically, if there were no phones-esque feeling. The characters are complex; every single one, void of any one-dimensionality. I felt myself immersed in their environment/s because it was that intimate being in the spectator's seat of everyone's individualities. Of course, the characters couldn't have been brought to life without the incredible acting. I was profoundly amazed at the main child actors' performances. I am glad to see that the cast and crew took very good care of them throughout the filming process, as this is an especially difficult terrain for children to act in. The music was beautiful, and I so wish there was more in some scenes because it put me in awe how delicate and tender the melodies played a role to further enhance the scene. Though I understand and respect the director's decisions; I'm by no means a professional, this is just my personal opinion.
I for sure have an urge to rewatch this movie because I feel like you can't pick up on all the intricacies in just one go, so this is a definite rewatch. Monster is a beautiful movie with a beautiful and very important story to tell. Give it a watch, you will not be disappointed.
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beautiful beautiful beautiful
IM CRYING MY EYES OUT.This movie is really really beautiful, the emotions were portrayed so well and everything was played out amazingly and beautifully. Even small details like the lightning or even some glances here and there matched the storyline and the characteristics of each character.
At first, I thought this movie would be too confusing, since we never really got a hold of what was actually happening, but as time went by I learned how to just be happy with what I knew, instead of worrying about how that would change. My perception of what was happening was constantly changing, but itfelt like an exercise of patience and a way to keep me focused to know the real situation that was going on.
Every actor/actress did an AMAZING job, but I'd like to give a big shoutout to the two little main leads. At their young age, they managed to create a masterpiece and portray emotions with a lot of maturity and didn't hesitate to show the vulnerabilities and feelings of the characters they were playing as if they were their own.
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A beautiful piece that holds 3 different perspectives
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
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who's the monster ?
"se não é para todos então não é felicidade.""quem é o monstro?"
essas duas frases são exatamente o que define o filme como um todo. a felicidade aqui vem da pior forma, que é extremamente passageira, que parece boa demais para ficar durante muito tempo. como se os personagens não merecessem ter acesso, o que chega a ser cruel pois há personagens aqui que definitivamente deveriam ter um acesso ilimitado a ela.
sobre a segunda frase, é o que faz o filme ser tão transformador. toda a construção da narrativa durante o filme é algo hipnotizante de se acompanhar. os questionamentos que são levantados e as respostas que são obtidas a cada novo ponto de vista faz com que o filme seja um deleite de se ver. as nuances entre os personagens e as dúvidas sobre quem fez o que, ou que simplesmente deixou de fazer, e consequentemente os impactos que foram resultados dessas ações levanta um tipo de questionamento de que até qual ponto saber a verdade é o que realmente interessa ? como definir que o que aconteceu nas entrelinhas tem um valor menor do que a verdade?
eu havia visto uns paralelos comparativos com close do lukas dhont, e a minha semelhança favorita é a criação de um mundo que mistura realidade e fantasia em que nada importa além dos momentos que estão sendo criado entre duas pessoas, em que a felicidade parece ser o único sentimento possível e nada externo tem poder ali.
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heartbreaking yet beautiful
This is the most heartbreking movie i've ever seen. I needed a few days to recover from this film. My heart breaks every time I think of the story of these 2 boys, innocent yet such a tough life. I just can't understand the concept of homophobia and bullying. I hope from the bottom of my heart that they are together and live a happy life, but I still had different feelings at the end. the fact that he is exactly lying dead in the bathtub makes me rather think that he died and when he finds him in the bathtub, can't accept it and imagines a story about their happy ending and then he eventually dies too. I also want to note how wonderfully the boys portrayed the characters. This was incredible for such a young age. you could feel all their emotions and experience their pain with them.Was this review helpful to you?
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Not sure about the hype
Got excited to watch this movie because of the high ratings. Didnt watch any trailers or new anything about it before watching. Thought it was going to be a good horror /thriller movie. Was waiting for something to happen....Still very confused about the high ratings or is this what Japan horror movies is about?
It was about 3 different views/stories about their lives. I dont see anything about a thriller or a horror. Maybe a psychological drama.
Still very confused here... The theme is who is fhe monster? As you watch it from 3 different perspectives and then you change your views based on them. Thats why the question is are we the monster?
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Great human story, powerful performances and thought-provoking messages.
A large lake in a provincial city. A derailed train car at the bottom of a tunnel where two children, Mugino Minato (Kurokawa Souya) and Hoshikawa Yori (Hiiragi Hinata), play while mentioning the existence of a monster whose brain has been changed into that of a pig. An 11-year-old elementary school student who cannot get over the recent death of his father. A single mother who runs a laundry and loves her son more than anything. A close mother-son relationship. A teacher, Mr. Hori Michitoshi (Nagayama Eita), worried about his students. Childhood innocence at its best. A scandal involving low-life women in which the professor seems to be entangled. Small and large fires here and there. A school principal erratic in her actions and decisions after (causing?) the death of her grandson in a car accident. Professor's colleagues who appear to be hiding something. The teacher's girlfriend who has begun to doubt him...Although it seemed like a typical fight between children, the residents and the media are dragged into a drama that unfolds when the main parties involved make contradictory statements.
These are the main elements with which the famous filmmaker Koreeda Hirokazu weaves in '怪物' ('Kaibutsu'/Monster'), a virtuoso and labyrinthine drama with the soul of a puzzle, a brilliant film with a great human story, powerful performances and messages that They invite reflection.
When Minato begins to behave strangely, Saori (Ando Sakura), his parent, senses that something is wrong. Discovering that the person responsible for all this is a teacher, he bursts into the school demanding to know what is happening. But as the story unfolds through the eyes of the mother, the teacher and the boy, the truth slowly comes to light.
With the same fluidity, forcefulness and narrative naturalness that characterizes the filmmaker's work, the film is worthy of being enjoyed by the auteur cinema audience, but it could even appeal to a broader audience due to its genre features, its complicated structural dynamics and the shocking message that the story contains.
The film allows us to immediately connect with personal dilemmas, existential conflicts, thematic areas and secondary characters that dance coherently around the protagonists and the main story.
The sound design, the original music (which I will return to at another time), the editing and photography by Ryûto Kondô, round out the script's discourse, making use of very interesting shots and high-flying staging solutions.
The viewer must be attentive, because the film, precise as an atomic clock and, therefore, prodigious in its virtuosity and perfection, has a misleading timeline and the selective revelation of information prevents the audience from knowing where events are heading. , because she hides her true intentions until the end.
With a defined structure, well thought out from its writing, 'Monster' promptly opens the conflicts and develops them throughout the entire plot. If something was adjusted along the way, it was that the two young protagonists did not lose much in the face of such an ensemble film.
The director tries at all times to ensure that his stories, his conflicts, do not diminish their prominence before a cast made up of established actors and actresses. That was perhaps the biggest rectification of the original script, which is not so much, if we take into account that there is too much love, too much knowledge and passion on the part of the screenwriter about the story he wanted to tell from the beginning. And the audiovisual interpretation of said story at the hands of Koreeda Hirokazu is coherent enough not to get lost in complacency or self-censorship.
Ingeniously designed, subtle and flexible, the filmmaker proposes a stimulating game to the viewer: if the truth seems clear at first, we will discover it little by little, through the points of view of the mother, the teacher and Minato, in that order. , that nothing is ever what it seems.
Skillful as always in awakening the public's empathy, Koreeda, back in his native Japan, invites us to a film that lives up to the plot intensity proposed in the script by the talented Yuji Sakamoto ('Soredemo, Ikite Yuku '('Still, Life Goes On').
In this fascinating journey from darkness to light, as it is done through the cracks left in the different points of view, we find narrative traps distributed in a well-balanced way everywhere, throughout the film story, so that In the end, the viewer becomes aware of what has happened before their eyes.
From the mother's perspective, we enter an atmosphere of suspense, fear, doubt and despair that keeps the viewer in suspense, while the filmmaker tells us Saori's concern about the anomalous behavior of her son, a fifth grade student in a local primary school, with evasive responses and no addressing of their concerns.
At the same time, he hears neighborhood gossip from his clients that points to his son's teacher being involved in a sexual scandal.
Alarmed, she searches for the causes of this strange behavior of her son that has plunged her into confusion, distrust and frustration. Masterfully, Koreeda involves us in Minato's strange antics, but at the same time leads us to feel terrified by Saori's helplessness. No matter how much he investigates and demands a convincing explanation from the school directors and teachers of what is happening, the less he understands Minato's problems.
In this interesting way of touching reality, Koreeda addresses, with depth and lucidity, school bullying, to which more and more layers of complexity are added and to which an easy solution is avoided.
The film, rich in hidden feelings, hidden frustrations and current conflicts, such as abuse in schools and previous trials, is told with great detail and care, and the late Ryuichi Sakamoto's gentle score adds an overall air of reflection and empathy, helping with the nuances rather than reloading the inks.
With a well-cared for story, full of hidden twists that are revealed with time and patience, it changes from the teacher's point of view. Mr. Hori has another version of reality. Perhaps because he is worried about his students, perhaps because he is present in every act of Minato and the rest of the students, he sees the protagonist's situation with other eyes and other nuances that are very different from how Saori perceives it.
Although this narrative arc is, in my opinion, less attractive because it tends, at times, to dramatize and moments in which naturalness is lost, its approach adds complexity to the narrative with a story that continues to be intricately crafted and therefore the use of profound comments on the teacher's ethics, the dynamics of power and the influence of the media in the formation of opinion matrices that can manipulate public opinion. Using clever metaphors to convey ideas keeps the audience's interest afloat.
Although in this new narrative strategy permeated with ambiguity, Koreeda has left intentional gaps in the first two revelations, in the third all the pieces fall into place, with a very moving emotional force, which allows, finally, to narrate the truth behind the Minato's behavior, but this only comes to light from the eyes of children, in that natural innocence and friendly complicity, which as a spirit moves the skeleton of the story: once it is detached from all its layers, it shows its true nature. nature and, in the end, it is nothing more than a beautiful story of friendship and teenage love.
It is then that we realize the poetic puzzle about childhood and its secrets, recreated with an exquisite sensitivity that has allowed Koreeda to show how difficult it is to understand the world of adolescents from the perspective of adults. As perspectives converge and conflicts close, a story of disturbing tenderness begins to emerge, about the way friendship, love, shame and rejection often live within ourselves. The way in which the viewer is led towards a deeper understanding of the characters, once again demonstrates the staunch humanism of the director.
Without being a romantic drama, the strongly suggested childhood infatuation attracts the attention of members of the LGBTQ+ community, who have seen the film as a gay drama by showing a danshoku or love between men.
And they do not sin in assuming it this way, because 'Monster' reflects on the pressure of fitting into the world, especially in the family; the doubts and insecurities inherent to self-discovery and acceptance; the anguish of rejecting sexual identity, the mental tension of hiding a secret, typical of homosexuals, especially in societies where there is still discrimination against the people who make up this human group, such as Japan, as it does not have laws that recognize marriage. homosexual. Many homosexuals will see themselves reflected in the struggles, internal and external, that the two young men go through.
This is a suggestive drama of undeniable lucidity, which combines refined ability in the use of cinematographic language with narrative solidity and intelligence when developing emotions. Its director does not skimp on feelings to give us a profound drama focused on self-acceptance, captured lyrically, to astutely examine childhood and its secrets.
The film provides a new combination of social themes and childhood that, although it is not at the level of the filmmaker's masterpieces, such as 'Nobody Knows' or 'Still Walking', does not falter like 'The Truth' or 'Broker'.
Honest, profound and hopeful, 'Monster' is one of the filmmaker's most ambitious works. Its biggest problem is that, in its desire to document the suffering of its characters, it ends up trapping the viewer in a crossfire of shocks that can make the less experienced lose the narrative thread.
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SO GOOD
I think the best way to describe this movie is, beautiful but painful.The beauty in every scene, you can literally see the efforts of the actors/actresses and the whole team.
The story is so good and I loved how we can see the differences in the povs.
This is such a great criticism for the society, they're children, they should be allowed to enjoy their childhood without feeling pressure of what the society will say.
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