Japanese auteur Hirokazu Kore-eda is a perceptive observer of families, keenly detecting the quirks that make an individual unique and the whole stronger and more complicated.
2018’s masterful Palme d’Or winner “Shoplifters” was perhaps the finest display of Kore-eda’s skills and preoccupations as a minimalist artist of mysterious domestic rhythms, informed by social and financial realities.
His make-shift family in last year’s arguably more populist “Broker” didn’t hit a note as high, but “Monster,” the director’s return to this year’s Cannes competition, feels closer to the subtly multilayered tales we came to expect from him.A sweet, unknowable and often purposely misleading red herring of a whodunit that morphs into an unexpected tale of friendship, “Monster” feels like a departure for Kore-eda, mostly because of its intricate structure that recounts the same event from three different viewpoints.
An obvious (and quite accurate) association point for many will be Akira Kurosawa’s “Rashomon,” which reconstructs an incident by emphasizing the significance of perspective in search of truth.
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