Monster

“Happiness is something anyone can have.” The way in which this film is able to continually re-contextualize it’s plot is truly something to behold. It transforms from this situation shrouded in mystery and confusion with possibly sinister consequences into a beautiful story of love and growth. Genuinely one of the best screenplays I think I’ve ever seen play out on a screen. So intricately planned out with the perfect revelations that just feel right.  This film can be divided into three parts, each painting a very distinct picture, and each asking the question which is constantly repeated in the film itself: “Who is the Monster” The first third haves us believe the monster is a cruel and abusive teacher, Mr. Hori. But the unusual behavior and mannerisms Minato displays hints at something more distressing going on with the seemingly troubled young child.  The second third reveals that Mr. Hori is innocent, and all cases of “abuse” where mere misunderstandings or accidents, and sometimes even plans carried out by Minato and his co-conspirator, Yori. At this point, the title of “Monster” shifts from Hori to the two boys, who are now portrayed as devilish young tricksters.  Finally, all is revealed in the last third as Yori and Minato are merely two young boys with taboo feelings for each other, persecuted and pushed to their breaking point by the real “Monster”: our society. The monster the entire time was the school willing to throw others under the bus for its reputation, the parents, overbearing and intolerant, and mean-spirited classmates, who bully those different from them. The ending leaves us with a beacon of hope, as these two young souls run off into the lush wilderness, in what feels like the finish line, or maybe just the start, for their ultimate goal of freedom.  These three incredibly distinct acts keep the audience guessing as to what is really happening, and come together perfectly to tell one story of forbidden love, and the Monsters who try to prevent it’s existence.