Akira Kurosawa’s Rashomon is an obvious inspiration for Monster in its use of multiple perspectives and flashbacks. But whereas that classic 1950 drama was concerned with guilt and dishonour, major themes in postwar Japan, Monster is concerned less with who did what to whom than with who people really are. As such, it is a fine addition to Kore-eda’s body of work, which ultimately owes more to the humanism of Yasujirō Ozu (e.g. Tokyo Story) than to Kurosawa’s often bleak view of the world.

The plot concerns the developing relationship of two boys and how this is misinterpreted by parents and schoolteachers. The overlapping narratives are supported by clever camerawork and a hypnotic soundtrack, both of which feed the sense of uncertainty until the complexity of the tale becomes clear and we reach a final, hopeful resolution.

The film is notable for having been scored by Ryuichi Sakamoto, an artist Kore-eda had long hoped to work with, who died shortly before the release of the film after a long illness. Monster is dedicated to him. The film is also notable for being the first since 1995’s Maborosi for which Kore-eda himself didn’t write the screenplay. The writer was Yuki Sakamoto (no relation), most famous for his work on Japanese TV, who won the Best Screenplay Award at Cannes.

“Monster isn’t about what it initially appears to be; the narrative peels away the diversionary misapprehensions until it arrives at its emotional kernel of truth, and the film offers us hope, not despair.” Peter Bradshaw – Guardian.

“Monster” ties a group of outsiders together not by their mutual experiences but by their search for meaning in how they look at and care for each other.” Simon Abrams – rogerebert.com

“At Cannes, Monster won the Queer Palme for the best LGBTQ+ story; it’s indicative of the film’s lithe, shimmying structure that viewers may spend the bulk of its running time mystified as to why.” Guy Lodge – Sight & Sound