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| Hinata Hiiragi and Soya Kurokawa in Monster. |
The movies of the Japanese director Hirokazu Kore-eda are not just different from those of other filmmakers; they’re also often unlike each other. He seems to trod a new path each time out, and his narrative strategies are always fresh. His pictures aren’t even always in Japanese: his last, Broker, which was one of the best films of 2022, was shot in South Korea with Korean actors, and its predecessor, The Truth, was set in Paris and featured Isabelle Huppert and Juliette Binoche as mother and daughter and Ethan Hawke as Binoche’s American husband. The common denominator is a focus on unconventional family units, usually involving small children. The two fifth-grade boys at the heart of his latest, Monster, Minato (Soya Kurokawa), the protagonist, and the smaller and younger-appearing Yori (Hinata Hiiragi), have each lost one parent and are being raised by the other – Yori by a hard-drinking father (Akihiro Kakuta) and Minato by his mother, Saori (Sakura Ando), who is still mourning the death of her husband and struggles to balance caring for her son with a tiring job in a laundry.
