Monster (2023)★ 7.8/10

Anything that has monster in the title and comes from Japan is a masterpiece

7 out of 10. Dabbling in this fancy stuff has made Kore-eda Hirokazu lose the sharp and nuanced insights into life and relationships that were present in his previous films. Maybe this is a sacrifice made for the sake of suspenseful storytelling and plot twists, but I believe these sacrifices are completely unnecessary because they aren't important at all.

The movie employs a Rashomon effect with three different perspectives, though the first two perspectives are just red herrings. The first act makes me mad, the second act leaves me confused, and the last act makes me wanna cry. How could loving someone make you a monster? The nomination for the Palme d'Or is already a kind of spoiler, so I won't beat around the bush — Kore-eda Hirokazu has made the best LGBTQ movie of the year. Though I think a lengthy article is needed to explain why the director won't admit it...

This movie demonstrates how Kore-eda Hirokazu goes all out to make up for the flaws in his previous film "Broker". The multi-perspective storytelling creates a suspenseful atmosphere that far exceeds my expectations. The film captivates the audience with its tight plot and mysteries, ultimately leading to a commentary about the lack of accountability in the world of adults. (The most unfortunate character throughout the movie is Hiro sensei, who constantly misunderstands and is constantly misunderstood. Poor guy.)

I've been curious about how Kore-eda Hirokazu would push the boundaries in his expression ever since I heard about the core content of this film. It wasn't until I finished watching the whole movie that I realized he has stayed true to himself, remaining steadfast - even somewhat stubborn - in his approach. For some, a person could always be that “monster”, but does that mean they can't have their own identity? Those who can truly connect with you are actually the same kind of people as you. Kore-eda Hirokazu uses meticulous connections to make you feel like you're no longer facing an empty chair, but someone who can genuinely understand you with tenderness. Additionally, the exceptional performances by Sakura Andô and Soya Kurokawa make everything nearly perfect.

It's a movie that absolutely shouldn't be spoiled. The three-act structure with changing perspectives creates a suspenseful vibe, almost like a thriller. Every seemingly random or unusual detail becomes a crucial point in later “twists", some even delivering an emotional blow. This narrative "deception" is deeply intertwined with the core of the story: Kore-eda Hirokazu delves into the harm caused by lies, where at times, we deceive not only others, but also ourselves. (I still can't believe it took me so long to realize what the "monster" truly represents!)

In a movie that isn't meant for exploring narrative, the director tries to conceal the main incident by using a limited first-person perspective, but fails to maintain a clear viewpoint. This leads to visual confusion without resolving the conflict, causing the characters to shift between normal and strange behavior. As a result, the whole movie becomes a convoluted and burdensome mess, stripping away what little empathy the audience could have for the characters.

The scriptwriting and performance really ramp up the suspense and drama in this film. However, compared to the first two storylines that solemnly denounce the lack of accountability in the adult world in Japan, the "truth" established by these two young boys seems somewhat lightweight and contrived. It loses the director's usual faithful depiction of children.

A sutileza visceral do cinema do Koreeda faz a gente querer chorar e se indignar. Transporta sem pedir licença para uma vivencia que achávamos que não poderíamos. É empatia pura.

Nota 7 de 10. Explorar essas coisas sofisticadas fez com que Hirokazu Koreeda perdesse os insights nítidos e sutis sobre a vida e os relacionamentos que estavam presentes em seus filmes anteriores. Talvez esse seja um sacrifício feito em prol de uma narrativa de suspense e reviravoltas na trama, mas acredito que esses sacrifícios são completamente desnecessários porque não são nada importantes.

O filme emprega um efeito Rashomon com três perspectivas diferentes, embora as duas primeiras sejam apenas pistas falsas. O primeiro ato me deixa maluca, o segundo ato me deixa confusa e o último ato me dá vontade de chorar. Como amar alguém pode fazer de você um monstro? A indicação para a Palma de Ouro já é uma espécie de spoiler, então não vou fazer muitos rodeios — Hirokazu Koreeda fez o melhor filme LGBTQ do ano. Embora eu ache que seja necessário um longo artigo para explicar por que o diretor não admite isso...

Esse filme demonstra como Hirokazu Koreeda faz de tudo para compensar as falhas de seu filme anterior, "Broker - Uma Nova Chance". A narrativa multiperspectiva cria uma atmosfera de suspense que excedeu minhas expectativas. O filme cativa o público com sua trama compacta e seus mistérios, resultando em uma crítica sobre a falta de responsabilidade no mundo adulto (o personagem mais infeliz do filme é Hori, que constantemente entende mal e é constantemente mal compreendido. Pobre rapaz).