"Family," writes American author Don DeLillo in his seminal novel White Noise, "is the cradle of the world's misinformation."These same traits suffuse the oeuvre of Hirokazu Kore-eda – the Japanese director who, over his three-decade career, has probed the dysfunctions and delights of families in varying states of strife.
In 2008's Still Walking and 2016's After the Storm, families – estranged, grieving, wounded – reunite under one rooftop, where old tensions tumble to the fore. The houses of both films become boiler rooms, as resentments resurface and illusions shatter. The noise and the heat, once repressed, suddenly detonate.
The film opens with a series of omens: a building engulfed in flames, smoke ascending towards the stars, sirens piercing the dark. From their balcony, mother and son survey the scene with the fervour of sports spectators. "Go for it!" Saori squalls, cheering on fire trucks in the distance. One could easily imagine Monster continuing down this path, tracing an increasingly high-stakes fight against bureaucracy.
Monster, in comparison, reveals the cogs of its own filmmaking. Its time jumps are deliberately jagged, forcing us to interrogate the muck of morality as our own assumptions about each character are proven false again and again.
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