Monster

Monster

17/03/24

Cineworld, Edinburgh

After his Korean-set story Broker, director Kore-Eda Hirokazu returns to his Japanese homeland for Monster, working alongside screenwriter, Yûji Sakamoto. The result won the Best Screenplay award at the Cannes film festival and it’s easy to see what entranced the judges. This masterful Rashomon-style story offers us the same set of circumstances from three different perspectives and, as each successive layer is revealed, our perceptions are radically changed and confounded.

The story is set in an unnamed Japanese suburb and begins with a devastating fire at a local hostess bar. Rumours fly about who might have been there at the time, and suspicion falls on Hori (Eita Nagayama), a young teacher at the local primary school. Single mother Saori (Sakura Mugino) becomes increasingly concerned by some of the things that her young son, Minato (Sōya Kurokawa), says to her and she develops the suspicion that Hori may be bullying him. But when she makes enquiries, she is met with an ultra-polite wall of apologies from Yori’s fellow teachers, headed up by the school’s inscrutable principal (Yūko Tanaka). And what is Saori to make of Yori’s claim that Minato has himself been bullying fellow pupil, Hoshikawa (Hinata Hiragi)?

As the plot unravels, a question arises: who exactly is the titular monster of the tale?

But in this story, appearances can be deceptive. As soon as I settle upon one explanation, I am obliged to drastically rethink it – and it would be criminal to reveal anything more about this sly, gently paced and decidedly labyrinthine film. Suffice to say that, as it it moves sure-footedly towards a thought-provoking, open-ended conclusion, it generates a powerful grip.

There are wonderful performances here, particularly from the young leads, who perfectly embody the awful uncertainty of pre-adolescence – and from Mugino, whose baffled incredulity is palpable as she struggles through the hoops and hurdles of bureaucracy. There’s also a gentle, melancholy soundtrack courtesy of the legendary Ryuichi Sakamoto – sadly his last.

Monster is an accomplished film and Kore-Eda clearly a director at the top of his game.

4.6 stars

Philip Caveney

Monster

13/05/21

Netflix

A courtroom drama with a difference, Monster stands apart, mostly by virtue of its artful direction. Anthony Mandler’s thought-provoking story centres around seventeen year old Steve Harmon (Kelvin Harrison Jnr), a film student with a promising future. With wealthy parents and a place at a prestigious college, Steve’s a regular golden boy. But a recent robbery in a Harlem bodega has gone horribly wrong, a shopkeeper’s been murdered and Steve stands accused of acting as lookout for the perpetrators, James King (ASAP Rocky) and ‘Bobo’ Evans (John David Washington). A witness has placed Steve at the scene of the crime and he soon finds himself arrested.

It’s an unlikely fit. King and Evans are streetwise villains with previous form, but Steve has never been in trouble in his life. How can he possibly have become involved in something like this? As his lecturer, Leroy (Tim Blake Nelson), points out, this is a kid who inspires trust in everyone he meets. And yet… he’s been identified.

The conceit here is that all the events of the story are filtered through Steve’s distinctive point of view. As a filmmaker himself, he cannot resist presenting them as a sort of screenplay, complete with titles and camera directions. (Don’t worry, this is way better than I’ve made it sound – it’s an assured marriage between style and content, neither element allowed to outweigh the other.)

We follow him through his arrest, his subsequent incarceration and on to his trial, where his appointed defence attorney, Maureen O’ Brian (Jennifer Ehle), does her best to guide him through the pitfalls of a court appearance and keeps reminding him that the way he presents himself to the jury will be of paramount importance. In flashbacks, we also witness his interactions with King and Evans, the way he is drawn to them as subjects for a film project he’s working on, how he’s caught up in their ‘outlaw’ attitude. But he knows there’s a line between him and them, doesn’t he? And he’s surely never going to cross it…

Monster is ultimately about the allure of the forbidden, the different choices we face in our lives. It also has a lot to say about class – it effortlessly demonstrates how Steve’s privileged lifestyle affords him opportunities that many of his peers will never experience – and how it might be the single factor that stands between him and the unthinkable. Harrison Jnr is compelling in the lead role and Ehle provides a calm, but steely presence as the defender who believes in his innocence. Originally filmed in 2018 and showcased at the Sundance Festival the same year, Monster has had a long wait to find its audience, but it’s been worthwhile.

This is an assured and original drama with plenty to recommend it.

4.2 stars

Philip Caveney