‘Monster’ Director Hirokazu Kore-Eda On How He Handled LGBTQ Themes With His Young Characters – Cannes

Anthony D'Alessandro
·2 min read
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In the throes of Hirokazu Kore-Eda’s latest narrative Cannes competition film Monster are two boys learning about their feelings for one another.

“There haven’t been many Japanese films that address these topics,” acknowledged the 2018 Shoplifters Palme d’Or winner, speaking at a Thursday press conference for the film, about the LGBTQ themes among the young boys in Monster.

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“When I discovered the screenplay, I thought to myself, this story should not be viewed from that angle. It’s an inner struggle,” he added.

Monster follows Saori (Ando Sakura), a take-no-prisoners widowed mother bringing up her son Minato (Kurokawa Soya), who is weathering tough times in his elementary school. Mom learns that son’s odd behavior may have to do with his teacher, who Minato says hit him. The pic is told from several different points of view, including that of the teacher, Hori (Nagayama Eita), Minato, and the friend he adores, Yori (Hiiragi Hinata).

“The feelings that are kindled in these young children are sometimes expressed violently toward other people, or sometimes children turn against themselves,” said Kore-Eda, who shot off of Yuji Sakamoto’s script.

Expounding on how he respected the LGBTQ issues in the film, the director said, “It’s the birth of emotions, of feelings. It’s difficult to put in words to what one feels.”

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“The film shows how these children try to rise above this situation,” he emphasized.

“As progress on the film was made, we met with some experts who take care of children who have to deal with some of these issues. We received a very detailed opinion on this topic.”

Last night in its Cannes world premiere, Monster nabbed a six-minute standing ovation.

Monster is Kore-Eda’s ninth movie overall at Cannes (counting two that appeared in Un Certain Regard). Monster is his first movie since his 1995 debut feature Maborosi that the director has not had a screenplay credit on.

Kore-Eda took home the Prize of the Ecumenical Jury last year at Cannes for another family drama, Broker, which centers around abandoned babies and those who find homes for them. He won the Jury Prize in 2013 for Like Father, Like Son, which also received the Ecumenical Jury Prize.

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Nagayama Eita was asked to give his interpretation of the title: “Personally, I don’t even understand or even know. Is it the monster in one self? Outside of one self? Each spectator has to find his own answer. All the answers are right.”

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