When we talk about 'monster films' from Korea, our minds might immediately jump to the colossal creatures that have stomped through blockbusters like The Host. But the term 'monster' can be so much more, can't it? It can represent the internal struggles, the societal pressures, and the prejudices that can feel just as terrifying, if not more so, than any CGI beast.
This brings me to Hirokazu Kore-eda's critically acclaimed drama, "Monster." While not a creature feature in the traditional sense, the film masterfully explores the 'monsters' that lurk within human interactions and societal expectations. Winning Best Screenplay at the Cannes Film Festival, "Monster" isn't about a physical entity but about the complex, often misunderstood relationships between children and the adults around them. Kore-eda, a director known for his sensitive portrayals of family and childhood, delves into a story that unfolds through multiple perspectives, revealing how easily misunderstandings can escalate and how prejudice can shape narratives.
The film centers on two elementary school classmates, Minato and Hoshikawa. When Minato confides in his mother about being abused by his teacher, the story branches out. We see the teacher's side, hinting at the complexities of Minato's friendship with Hoshikawa, who himself is dealing with bullying and a difficult home life. The brilliance of "Monster" lies in its refusal to offer easy answers. Instead, it invites the audience to piece together the truth, much like the characters themselves are trying to do.
Kore-eda himself spoke about the film's poignant ending, explaining his intention to offer a sense of blessing to the two young protagonists. He wanted them to feel exhilarated, free from the societal pressures and prejudices that had complicated their lives. Originally, he filmed them looking directly at the camera, but the addition of composer Ryuichi Sakamoto's song 'Aqua' inspired a change. The final scene, with the boys running without looking back, became a powerful symbol of celebration and liberation. It's a moment that feels earned, a quiet triumph against the 'monsters' of misunderstanding and judgment.
While the reference material touches on various film news, from franchise updates like 'The Matrix 5' to streaming service reports and even a nod to K-Pop demon hunters inspired by a monster movie masterpiece, it's fascinating to see how the concept of 'monster' in film is so broad. It can be the terrifying unknown, or it can be the deeply human, the psychological, the societal. "Monster" by Kore-eda reminds us that sometimes, the most profound monsters are the ones we create or allow to fester within our communities and ourselves.
