Monster (2023) - Film Review

Hoshikawa: Are we reborn?

Left: Hoshikawa - played by Hinata Hiiragi;
Right: Minato Mugino - played by Sōya Kurokawa
(Source: Gaga Corporation and Toho Co.)

Acclaimed Japanese filmmaker Hirokazu Kore-eda returned to the Cannes Film Festival with his latest feature film "Monster" (2023) after making a stop in neighboring South Korea last year with "Broker" (2022).

Kore-eda's productivity can be considered relatively high despite the state of the industry as a result of COVID-19, having made two feature films (on top of some television work) during the pandemic. It is also interesting to note that, speaking of these two films, they signify a departure from Kore-eda's filmmaking comfort zone - considering "Broker" (2022) was essentially a Korean film, and "Monster" is his first feature film where he did not direct a screenplay he wrote (I may have to confirm again on this).

"Monster" also featured the late Japanese composer Ryuichi Sakamoto's final composition work for a movie. In a mix of both original music as well as uses of some of Sakamoto's past works, the audience is treated to a well-portioned plate of melancholic music, comfortably interspersed throughout the film.

Of particular value to mention would be Kore-eda's use of Sakamoto's "Aqua" (1999) in the final scene of the film. Without spoiling it for those who have yet to watch this magnificent film, I can only say that I had initially thought "Aqua" was an original piece of music composed for this movie. This speaks of both Sakamoto and Kore-eda's mastery in their craft respectively - the maestro for his ability to find that magical balance in his own creativity and the film's emotions, and the filmmaker for choosing what viewers would consider to be the perfect music to end the film with.

Source: Gaga Corporation and Toho Co.

The screenplay however is where I walked out of the cinema thinking it could have been better, for this otherwise (subjectively) masterpiece amongst Kore-eda's latest works. Some may attribute it precisely to the fact that Kore-eda worked on a script he did not develop. Be that as it may, unaware audiences may finish the film not realizing Kore-eda merely served as this film's director and editor. The film's "Rashomon"-style storytelling attempt, in my view, served its artistic purpose but fell short (slightly) in terms of technical effectiveness.

I watched "Monster" twice in the cinemas, and it did take me on my second watch to tie up certain loose ends that I had after finishing my first. One such example was how Minato's flask contained mud, only to be revealed much later in the film that he used it to capture some water from a lake. I barely recall this during my first watch.

Saori - played by Sakura Andō
(Source: Gaga Corporation and Toho Co.)

If nearly every other aspect of the film apart from its screenplay exceeded expectations, surely one cannot resist the urge to commend "Monster" 's ensemble for their great performances. Kore-eda's leading lady of late, the wonderful Sakura Andō, nailed yet again another portrayal of a struggling middle-aged single woman. Tasked with seeking the truth behind her son's unusual behavior and holding the school accountable, Saori the mother went up against a strange and inefficient administration chaired by the school's monotonous and mysterious principal played by veteran actress Yūko Tanaka. The supposed culprit whom Saori wanted to take to task, teacher Hori - played by Eita Nagayama, was in my view the second most layered character of the film, and Nagayama gave a compelling performance.

Teacher Hori - played by Eita Nagayama
(Source: Gaga Corporation and Toho Co.)

Principal Fushimi - played by Yūko Tanaka
(Source: Gaga Corporation and Toho Co.)

The true gems of "Monster", though, were the two children who formed the heart of this film. Minato, played by Sōya Kurokawa, and Hoshikawa, played by Hinata Hiiragi, practically stole the show for the latter half of the film. Kurokawa and Hiiragi had jawdropping on-screen chemistry despite both making their feature film debut. To me, Minato's character and journey was the most complex out of all characters in the film and Kurokawa's killer debut only proves even more resoundingly Kore-eda's strength in directing child actors.

Source: Gaga Corporation and Toho Co.

Hiiragi's turn as Hoshikawa provided for most of the film's recurring catchphrases and keywords. Keeping in mind the risk of giving away crucial plot developments, I can only say that most if not all of Hoshikawa's scenes are important. Personally, after having watched the film twice now, I may even dare to propose an alternative title to "Monster" - say... "Reborn".

"Monster" once again reinforced the Kore-eda brand and style of compassionate and empathetic storytelling, with the same energy for exploring the deeper human nature behind every action and reaction. Economically, the film will have a hard time standing out from a fierce crowd of blockbusters selling out cinema halls globally these few months - the latest Indiana Jones and Mission Impossible instalments, "Oppenheimer" and "Barbie", to name just a few. However, I humbly appeal to moviegoers all over the world who intend to seek a few hours of calm and slow distraction - "Monster" may not appear at the top of many people's heads, but any discerning audience with a respectable degree of kindness and patience will surely walk out of "Monster" feeling they have done something right that day for deciding to watch this movie.

My Letterboxd score for "Monster" (2023) - 4.5 stars

*A YouTube video film review will also be uploaded here soon. Update: I have delayed my YouTube channel's launch to the next awards season (2024/2025), you may refer to my latest post here to understand why.