Koreeda Hirokazu (是枝裕和) is one of the most renowned modern Japanese filmmakers. After his tear-jerking “Broker” (which was filmed in Korean) and the heart-warming Netflix series “Makanai: Cooking for the Maiko House” (go watch it if you haven’t yet!), the director comes back with a new feature film produced in his home country. It’s titled “Monster”.

The film, written by Sakamoto Yūji (坂元裕二), tells one story from three different perspectives. First, we follow a single mother, Mugino Saori (麦野早織), who notices her son, Minato’s (湊), strange behaviour. Soon, she discovers that his form teacher, Hori Michitoshi (保利道敏), might be involved. Then, we follow the events from the teacher’s point of view. Towards the emotional finale, we switch perspectives once again, this time to see how it all unfolds for Minato himself.

Sakamoto and Koreeda use the multitude of perspectives to highlight the importance of getting to know different aspects of reality before being able to fully grasp it. And although this message might seem a bit trivial, it corresponds with the film’s main themes in quite an interesting way. These focus on happiness and how a narrow perspective leads to denying people the right to be happy — especially if they’re part of minorities.

In many regards, “Monster” is about innocent love which cannot exist because of strict social norms. The story is firmly set in Japanese reality, where everything must happen according to an established pattern. This reality is often openly criticised by the authors, for instance, in the scene where the school offers an insincere apology to the mother seeking justice. The scene is linguistically brilliant, by the way, because it perfectly exposes how stiffy and ridiculous the honorific register of Japanese can be.

There is one key question that the film is trying to ask: “Who is the title ‘monster?’”. Is it the boy who’s different from his peers? The children who bully him at school? His alcoholic father? The seemingly cold school principal, who has to deal with a painful loss? The form teacher, who is unable to properly take care of his pupils? Or is it the society, which otherises some people and denies them the right to happiness?

This last suggestion seems to be pointed to by the returning theme of rebirth. First, it is signalled in the talks between Minato and his friend, Hoshikawa Yori (星川依里), and then it resounds in a moving and suspenseful finale. The last scenes of the film show the main characters reborn in a way: they can finally accept their identities and reject society’s limitations. This metaphorical rebirth also makes you hopeful for the world to become a better place, making the film’s message universal.

Koreeda directs the film with his signature delicacy and empathy. He always stays close to the characters whose perspective the audience is meant to understand. He also balances the story perfectly: although “Monster” is predominantly a drama, there are some comedic and mystery elements woven into it.

The cinematography by Kondō Ryūto (近藤龍人) is fascinating, especially as it is informed by the structure of the story. Taking the theme of perspective and points of view into consideration, the cinematographer often uses contrast as a visual device. We regularly visit the same places but look at them differently: sometimes the camera is placed in a different manner, and sometimes the place is filmed at a different time of the day. The final scene is particularly masterful in this regard. Typhoon and heavy rain are juxtaposed with sunny, beautiful weather there, perhaps symbolising the arrival of better days.

The film’s score, consisting of piano tracks composed by the late Sakamoto Ryūichi (坂本龍一), is adequately delicate and emotional. Ryūichi was able to write two original tracks for the film and asked the director to add some pre-existing ones to the mix. Together they form an excellent soundtrack, which enriches and enhances the visuals.

“Monster” is also very well-acted. Koreeda does an amazing job directing the two young actors: Kurokawa Sōya (黒川想矢) as Minato and Hiiragi Hinata (柊木陽太) as Yori. The boys delight with their nuanced portrayals, which are full of genuine emotions. And they also complement each other. Kurokawa’s Minato is distanced and reserved, while Hiiragi’s Yori is tremendously warm-hearted and open. Together, they form a uniquely harmonious duo.

The older generation doesn’t disappoint either. Andō Sakura (安藤サクラ), known for her brilliant performances in Koreeda’s “Shoplifters”, shines once again as a single mother hell-bent on helping her son. Her Saori may be seen as defined by her endless fights with institutions. Paradoxically, however, Andō finds a lot of strength in her character’s growing sense of powerlessness and creates a fascinating portrayal.

Nagayama Eita’s performance (永山瑛太) as Hori Michitoshi is richly human. Hori is a well-meaning character, but somehow, he always worsens his situation. Nagayama finds humanity in this trait, highlighting both the character’s clumsiness and his pursuit of justice. The actor does extremely well in the scenes where Hori shows his vulnerable side, which in turn strengthens the audience’s sense of relatability to the character.

Last but not least, Tanaka Yūko (田中裕子) as the headmistress of Minato and Yori’s school is truly impressive. She’s a really popular actress in Japan, one who has received quite a few accolades for her craft. In Koreeda’s film, she once again demonstrates how talented a performer she is. She can combine two contradictions: be cold on the outside, yet let the audience know that inside she is struggling with overwhelming emotions. And she does so very subtly: with a delicate look here and a gesture there.

And so Koreeda does not fail this time either. His film is moving and yet it avoids being banal. It’s also quite thought-provoking, making the audience ponder about the power of perspective and the right to be happy. I believe these are the themes that will resonate with audiences all around the world, particularly in today’s landscape. It sure resonated with me and I consider it one of the best films I saw during this year’s Camerimage. Make sure to watch it if you can.