괴물(일본 영화)
괴물 (2023) 怪物 (Kaibutsu) MONSTER | |
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장르 | |
감독 | |
각본 | |
제작 | 카와무라 겐키 야마다 켄지 반 세모에 이토 타이치 타구치 히지리 |
출연 | |
촬영 | 콘도 류토[1] |
편집 | 고레에다 히로카즈 |
음악 | |
촬영 기간 | |
제작사 | |
수입사 | |
배급사 | |
개봉일 | |
화면비 | 2.39 : 1 |
상영 시간 | 127분 (2시간 6분 34초) |
월드 박스오피스 | |
북미 박스오피스 | $434,585 |
일본 박스오피스 | 21.5억엔 |
대한민국 총 관객 수 | |
스트리밍 | |
상영 등급 |         |
링크 |   |
특보 영상 |
메인 예고편 |
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글로벌 메인 예고편 |
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국내 티저 예고편 |
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국내 메인 예고편 |
“우리 동네에는 괴물이 산다”
싱글맘 사오리(안도 사쿠라)는 아들 미나토(쿠로카와 소야)의 행동에서 이상 기운을 감지한다.
용기를 내 찾아간 학교에서 상담을 진행한 날 이후 선생님과 학생들의 분위기가 심상치 않게 흐르기 시작하고.
“괴물은 누구인가?”
한편 사오리는 친구들로부터 따돌림을 당하고 있는 미나토의 친구 요리(히이라기 히나타)의 존재를 알게 되고
자신이 아는 아들의 모습과 사람들이 아는 아들의 모습이 다르다는 사실을 어렴풋이 깨닫는데…
태풍이 몰아치던 어느 날, 아무도 몰랐던 진실이 드러난다.
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무기노 사오리 (麦野早織) 안도 사쿠라 |
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호리 미치토시 (保利道敏) 나가야마 에이타 |
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무기노 미나토 (麦野湊) 쿠로카와 소야 |
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호시카와 요리 (星川依里) 히이라기 히나타 |
- 스즈무라 히로나 (타카하타 미츠키)
호리의 여자 친구.
- 쇼다 후미아키 (카쿠타 아키히로)
초등학교 교감.
- 호시카와 키요타카 (나카무라 시도)
요리의 아버지. 싱글 파더. 불량한 부모다.
- 키다 미오 (이이다 하루네)
미나토의 옆자리 여학생. 초등학교 5학년.
자세한 내용은 괴물(일본 영화)/줄거리 문서를 참고하십시오. 자세한 내용은 괴물(일본 영화)/사운드트랙 문서를 참고하십시오.Monster - Motion Picture Soundtrack |
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음악 감독: 사카모토 류이치 |
발매일: 2023. 05. 31. |
Gently devastating in its compassion, Monster is a masterpiece of shifting perspectives that surprises to the end동정심으로 관객의 마음에 부드럽게 충격을 주는 괴물은, 관점 변화를 통해 끝까지 놀라움을 안기는 걸작이다.로튼 토마토 평론가 총평
고레에다 히로카즈 감독의 잔잔한 연출과 영상미, 사카모토 유지의 탄탄한 각본, 사카모토 류이치의 음악 등 모든 요소가 잘 어울어진 명작이라는 평이 주를 이룬다. 두 아역 주인공과 어머니 역의 안도 사쿠라 등 배우들의 연기에 대한 호평도 많다. 영화 평가 플랫폼인 키노라이츠의 경우 신호등 평점 지수가 98~99%을 오가고 있다.
다만 전반적으로 잔잔하고 느린 작품의 분위기로 인해 관객의 취향에 따라 호불호가 있을 수도 있다.[15] 또한 의도적으로 시놉시스와 예고편 등에서 작품의 진짜 핵심을 철저히 숨겨놓았기 때문에 정보 없이 관람할 경우 사람에 따라서 당황하거나 이해가 어려울 수 있다.
오해를 경유해서 이해에 이르는 경험 끝에 관객은 그 햇살 아래서 증인이 된다.이동진 (왓챠피디아) (★★★★☆)
너희에겐 벽과 덤불과 프리즘이었어
전쟁터에선 누구나 괴물이 된다, 지금은 학교가 그곳이다이용철 (씨네21) (★★★☆)
가려진 무엇의 묵직한 무게, 오로지 그것의 힘유선아 (씨네21) (★★★☆)
잘하는 걸 재차 잘해내버리는 거장의 괴력김철홍 (씨네21) (★★★★)
나의 원형으로 돌아갈 시간, 지난밤 비가 온 줄도 모르게이지연 (씨네21) (★★★★)
베테랑의 쇄신과 역동을 목도하는 감흥이 엔딩만큼 눈부시다김소미 (씨네21) (★★★★☆)
소수자 문제를 드러내는 영리한 플롯과 있는 그대로를 인정하는 따뜻한 시선임수연 (씨네21) (★★★★☆)
절벽의 끝에, 우리만의 빛조현나 (씨네21) (★★★★☆)
인간의 한계를 드러내는 빼어난 구성. 감독의 새로운 걸작배동미 (씨네21) (★★★★☆)
모두가 행복할 수 없기에 괴물로 보이는 둘만의 세계오진우 (씨네21) (★★★★☆)
각본은 두드러지고 연출은 스며들어 결국 완벽해지다이유채 (씨네21) (★★★★☆)
누적 관객 수 536,037명, 누적 매출액 5,282,018,148원[17] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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일본 영화인데다가 상업영화가 아닌 아트관 영화임을 고려하면 대한민국 박스오피스에서 보기 드문 흥행 가도를 달렸다.[18] 개봉 10주차인 2024년 2월 2일에는 총 관객수 50만 명을 넘겨 고레에다 히로카즈 감독 영화 중 캐스팅에 대한민국의 초호화 배우진들이 포진했던 《브로커》[19]를 제외하면 대한민국 최대 흥행작이 되었다. 참고로 관객수 17만 5천 명으로 《괴물》 개봉 이전까지 고레에다 감독의 기존 최고 흥행작이었던 《어느 가족》과도 유의미한 차이가 난다.
이 영화의 흥행은 생각보다 파급력이 컸는데 찬란 이지혜 대표 인터뷰 따르면 한동안 부진했던 2023년 한국 예술영화 시장에 활력을 불어넣었다고 한다. 이후 찬란이 수입한 사랑은 낙엽을 타고와 악마와의 토크쇼, 존 오브 인터레스트나 타 수입사 작품인 추락의 해부, 로봇 드림, 악은 존재하지 않는다가 흥행하는데 큰 바람잡이 역할을 해줬다고.
고레에다 감독은 한국 인터뷰에서 한국 흥행에 대해 "괴물이란 작품은 그 어느 때보다 모든 스태프들이 최고의 능력을 발휘해줬다고 생각한다. 무엇보다도 사카모토 유지 각본가가 써준 힘이 컸다고 생각한다. 두 주연 배우의 매력과 호연도 대단했다. 그 시너지 덕분에 한국 관객들의 사랑을 많이 받은 게 아닌가 싶다. 개봉한지 꽤 지났는데 여전히 뜨거운 관심과 응원을 보내주셔서 감사드린다. 최근 한국의 관객들과 만났는데 연령층이 젊다고 느꼈다. 선물도 정말 많이 받았다. 전반적으로 영화를 사랑하고 지지를 보내주시는 분들의 에너지가 젊고 활력이 넘치는 것 같다"고 말했다.
- 2023년 5월 8일, 일본에서 완성 피로 시사회가 열렸다. # 이후 발매된 일본판 블루레이 호화판 특전으로 이 피로연 당시의 영상이 수록되었다.
- 2023년 제28회 부산국제영화제에서 상영되었다. 총 두 번 상영하였으며 첫 상영은 영화의 전당 야외극장에서 이뤄졌는데 영화 프로그래머가 고레에다 감독 옆에서 직접 4,400여 석이 매진되었다고 말했다. 주연 배우 쿠로카와 소야와 히이라기 히나타도 내한했다.
- 2023년 9월 10일, 제48회 토론토 국제 영화제 스페셜 프레젠테이션 부문에서 상영되었다.
- 고레에다 히로카즈는 인터뷰에서 "일본의 제도 자체를 비판하려는 마음은 없었습니다. 다만 인간 내면의 이야기를 보여줌으로써 '일반적인' 이라는 말, 혹은 '남자가', '남자다운' 이런 표현들이 얼마나 폭력적일 수 있는지 보여주고 싶었어요. 누구도 해를 입히려고 하지 않았지만, 결과적으로는 피해를 보게 되는 일이 있다는 걸 이 영화에서 가장 중요하게 생각했습니다."라고 말했다.
- 캐치프레이즈 "인간의 마음이란 게 있는가" 는 중의적인 뜻이며, 엔딩의 여운을 더욱 크게 남긴다. 금수만도 못한 생각을 지닌 괴물 같은 인간을 뜻하는 줄 알고 그러한 인물을 찾기 위해 영화에 몰입하다 보면, 종국엔 오히려 그러한 구분이 옳은지에 대해 생각하게 되고 더 나아가 캐치프레이즈의 진정한 의도가 " [인간의 마음] 이 정녕 명확히 구분될 수 있는 개념인가"임을 알게 된다.[22]
- 영화에 등장한 폐기차는 사실 처음부터 건축한 세트로 스와 지역의 건설회사에서 만들었다고 한다. 기차 세트는 촬영이 끝난 이후 해체했고, 현재는 실제 촬영에 사용된 기차 의자가 스와호 바로 옆 스와 간헐천 센터에 전시되어 있어 자유롭게 앉아볼 수 있다.
- 고레에다 "언급된 작품이 있다면 거스 밴 샌트 감독님의 ‘엘리펀트’에 대해 이야기한 적은 있습니다. 저는 처음 이 작품의 플롯을 받아서 읽었을 때 딱 떠올랐던 것은 일본의 유명한 동화 작가이신 미야자와 겐지 작가의 ‘은하철도의 밤’이라는 작품이 떠올랐어요. 그 작품은 판타지이기도 하고 또 별을 여행하는 기차를 탄 두 소년의 이야기입니다. 그 점에서 영화 ‘괴물’이 ‘은하철도의 밤’과 닮지 않았을까 하는 생각은 했습니다. 다만 이 부분은 제가 직접 사카모토 유지 각본가님께 확인해 볼 수는 없는 문제입니다. 그래서 각본가님께서 그것을 의식하고 쓰셨는지는 모르겠습니다." #
- 미나토 역의 쿠로카와 소야와 요리 역의 히이라기 히나타는 작중 관계와는 다르게 실제로는 촬영장에서 이유도 없이 자주 투닥거렸다고 한다. 다만 금방 다시 화해하고 촬영장 옆 스와호에서 산책을 하곤 했다고.#
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이동진평론가의 심층리뷰 |
(내용정보 표시항목:
)[4] 고레에다 히로카즈는 브로커에 이어 2년 연속 칸 경쟁 진출이다.[5] 데뷔작 '환상의 빛'을 제외하면 모든 연출작의 각본을 자신이 직접 집필했다.[6] 드라마 오싱으로 유명한 일본의 국민 배우.[A] 7.1 7.2 사카모토 류이치의 앨범 '12'의 수록곡[B] 8.1 8.2 영화를 위해 사카모토 류이치가 작곡한 곡이다.[C] 9.1 9.2 사카모토 류이치의 앨범 'Out of Noise'의 수록곡[13] 사카모토 류이치와 오오누키 타에코의 듀엣 앨범 'Utau'의 수록곡이며 엔딩곡으로 쓰였다.[14] 여담으로 유희열 표절 논란의 시발점이 된 곡이기도 하다.[15] 일본 영화는 한국 영화와 달리 인물의 감정을 직설적으로 표출하기보다는 절제해서 드러내는 편이다. 고레에다 히로카즈 영화들은 특히 전반적으로 기승전결이 뚜렷하다기보다는 여러 인물의 감정선을 다각적으로 표현하는 데 초점을 맞춘다는 특징이 있다. 그래서 그의 영화를 평소에 즐겨 보는 관객이 아니라면 특히 지루함을 느끼기 쉽다.[16] 별점은 4점을 줬다. 영어 리뷰[17] ~ 2024/05/07 영화진흥위원회 영화관입장권통합전산망 기준[18] 2024년 영화 서브스턴스가 독립예술영화로는 그랜드 부다페스트 호텔 이후로 11년만에 처음으로 40만 관객 수를 돌파했다는 기사가 나왔었는데 해당 기사는 오보에 가까운것이 여기 언급된 두 영화는 고레에다 감독의 괴물에 비하면 블록버스터 영화에 가까운 제작비를 자랑한다.[19] 대한민국 관객수 126만 명. 감독은 일본 사람이지만 사실상 한국 영화로 분류된다.[20] 1위 어느 가족(45억 엔), 2위 그렇게 아버지가 된다(32억 엔), 4위 바닷마을 다이어리(16억 엔).[21] 세상은 다시 태어날 수 있을까[22] 참고로 해당 캐치프레이즈는 작중 학교에 찾아간 사오리가 교장 선생의 냉담한 태도를 보고 '인간의 마음이 없는 괴물'이라고 비난할 때 언급한 대사로, 작중 맥락에서는 전자의 의미로 사용된 것이 맞다.[23] 구 스와시립죠호쿠소학교====Monster KoreidaMonster (2023 Japanese film)
| Monster | |
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 Theatrical release poster | |
| Kanji | 怪物 |
| Revised Hepburn | Kaibutsu |
| Directed by | Hirokazu Kore-eda |
| Written by | Yuji Sakamoto |
| Produced by |
|
| Starring | |
| Cinematography | Ryuto Kondo[1] |
| Edited by | Hirokazu Kore-eda |
| Music by | Ryuichi Sakamoto |
Production companies |
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| Distributed by |
|
Release dates |
|
Running time | 125 minutes[2] |
| Country | Japan |
| Language | Japanese |
| Box office | US$20.7 million[3] |
Monster (Japanese: 怪物, romanized: Kaibutsu) is a 2023 Japanese coming-of-age[4] psychological drama mystery thriller film directed, co-produced, and edited by Hirokazu Kore-eda from a screenplay written by Yuji Sakamoto.[5] It stars Sakura Andō as a mother who confronts a teacher after noticing disturbing changes in her son's behavior.[6] The film marks the first time Kore-eda has directed a film he did not write himself since Maborosi (1995). This was the last scoring project by Ryuichi Sakamoto (no relation to Yuji Sakamoto), who died two months before its release; the film is dedicated to his memory.[7]
Monster had its world premiere at the 76th Cannes Film Festival on 17 May 2023, where it competed for the Palme d'Or and was honored with the Queer Palm as well as the Best Screenplay award. The film was released in Japan on 2 June 2023. It received widespread critical acclaim with special praise for its screenplay, direction, acting, editing and musical score and appeared in many lists of top ten year's best.
Plot
[edit]Saori Mugino is a single mother raising her fifth grade son, Minato. He soon begins exhibiting strange behavior such as cutting his own hair and coming home with only one shoe. One night, Minato does not come home at all and after calling around, Saori finds him in an abandoned train tunnel. Saori begins to suspect her son's teacher, Mr. Hori, is abusing him and confronts the school about it. She is treated coldly by the faculty, culminating in Hori making a disingenuous apology. When she confronts Hori directly, he asserts that Minato is actually bullying another student named Yori. Saori visits Yori's house and he, despite his own strange behavior, seems fond of and concerned for Minato. Hori is eventually fired from the school, but returns days later and Minato falls down a flight of stairs trying to escape from him. Hori later comes to Saori and Minato's house during a rain storm, but Saori finds that Minato has gone missing.
A flashback returns to the beginning of the film from Hori's point of view. He notices Minato exhibiting disruptive behavior, such as throwing other students' belongings around the classroom and seemingly locking Yori in a bathroom stall. Hori too visits Yori's house, where he discovers that his father, Kiyotaka, is an abusive alcoholic. When Saori begins inquiring about her son, the faculty pressure Hori to let them handle it to protect the reputation of the school, ultimately requiring him to resign. After he is hounded by journalists and left by his girlfriend, Hori returns to the school to confront Minato, and contemplates jumping from the roof of the school after the boy falls down the stairs. During the rainstorm, Hori notices a pattern in Yori's old homework that seems to spell out Minato's name. Realizing the two boys were actually in love, Hori rushes to the Mugino household to apologize and assure him nothing is wrong with him. When Saori tells him Minato is missing, they go to the train tunnel to find him. They find an abandoned railcar nearly buried in mud, but only see Minato's poncho inside.
A final flashback begins from Minato's point of view. Yori is routinely picked on by the other boys for his asocial and seemingly effeminate behavior. Yori plays with Minato's hair, which the latter then impulsively cuts off. The two boys grow close, but Minato acts harshly toward Yori in the presence of other bullies. Hori confuses Minato's behaviors for bullying. As the two become closer, Minato is distressed that his feelings are becoming romantic and that he is not a worthy son to his deceased father. One night when he goes to Yori's house, Yori and Kiyotaka declare that Yori has been "cured", though Yori quickly recants, which incites his father's wrath. During the rainstorm, Minato finds Yori fully clothed in his bathtub, covered in bruises, and the two escape to the abandoned railcar, which has become their hideout. After the rain subsides, they emerge from the bottom of the railcar and question whether they have been reborn, and run through a field together. In the distance, a path the two wanted to take earlier that was gated off is now gate free, with no wreckage in sight.
Cast
[edit]- Sakura Andō as Saori Mugino, a single mother
- Eita Nagayama as Michitoshi Hori, Minato and Yori's homeroom teacher
- Sōya Kurokawa as Minato Mugino, Saori's son
- Hinata Hiiragi as Yori Hoshikawa, Minato's classmate
- Mitsuki Takahata as Hirona Suzumura, Hori's lover
- Akihiro Kakuta as Humiaki Shoda, the vice-principal of the elementary school that Minato and Yori attend
- Shidō Nakamura as Kiyotaka Hoshikawa, Yori's father and a single father
- Yūko Tanaka as Makiko Fushimi, elementary school principal
Production
[edit]Development
[edit]
For Hirokazu Kore-eda, Monster is the first Japanese-language film he has directed since the international success of Shoplifters (2018), which won the Palme d'Or at the 2018 Cannes Film Festival and was nominated for the Academy Award for Best Foreign Language Film at the 91st Academy Awards. In between, he shot two feature films: the English- and French-language The Truth (2019) and the Korean-language Broker (2022). Initial information about the project became known in November 2022 after filming had concluded. At this point, Monster was in post-production. For the first time since his feature film debut Maboroshi (1995), Kore-eda was not responsible for the screenplay. The script was written by the successful Japanese television writer Yuji Sakamoto. Kore-eda described Sakamoto as the one writer he had always wanted to collaborate with but that he gave up thinking it would happen. Kore-eda said that he felt a sense of closeness with Sakamoto for their shared interest in the same motifs. He described feeling "both envy and in awe of his ability to develop a subject in such a tremendously interesting way." Sakamoto described Kore-eda as the "world's best screenwriter" and recalled looking up to him when the two filmmakers attended the same school and occasionally rubbed shoulders.[8]
Sakura Andō, Eita Nagayama and Yūko Tanaka were cast in the lead roles along with the two child actors Sōya Kurokawa and Hinata Hiiragi.[9] The director had previously worked with Andō on Shoplifters. The two child actors were selected after repeated auditions. Kore-eda praised them for their shared on-camera chemistry, which contrasted the apparent differences in their facial appearances and personalities.[10]
The prolific filmmaker and best-selling author Genki Kawamura [ja] served as the film's lead producer.[11] Kawamura previously worked with Kore-eda in producing his Netflix series The Makanai: Cooking for the Maiko House (2023). Kenji Yamada served alongside Kawamura as a producer. The production was financially supported by the companies Toho, Gaga Corporation, Fuji Television Network, AOI Pro and Kore-eda's company Bun-Buku.[12]
Filming
[edit]Filming took place at approximately 25 locations in the Suwa region of Nagano Prefecture (Suwa, Okaya, Fujimi and Shimosuwa), from 19 March to 12 May and 23 July to 13 August 2022. Approximately 700 local elementary school students participated as extras.[13][14][15][16] The former Suwa City Johoku Elementary School, which was used as a shooting location, was depicted as "Johoku Elementary School".[17]
Music
[edit]Ryuichi Sakamoto committed to produce music for the film. However, Sakamoto did not have the physical strength to accept the offer to create an entire score. At the direct request of the director, he submitted two piano pieces. He used songs from his 2023 album 12, and old songs to compose the whole. In a commentary, Sakamoto stated that the film deals with an "esoteric theme" and that it was difficult to discern who the eponymous "monster" was. According to Kore-eda, the collaboration with Sakamoto was a "longtime wish that finally came true". During filming and editing, he listened to Sakamoto's music in his hotel room.[18] Sakamoto died on 28 March 2023 after a long battle with cancer.[19]
Release
[edit]A teaser trailer was published in early January 2023.[20] A promo was shown in February 2023 at Berlinale's European Film Market.[12] Monster was selected to compete for the Palme d'Or at the 2023 Cannes Film Festival,[21] where it had its world premiere on 17 May 2023.[22] It was also invited at the 28th Busan International Film Festival in 'Gala Presentation' section and was screened on 7 October 2023.[23]
In Japan, the film was released on 2 June 2023, co-distributed by Gaga Corporation and Toho.[24] Gaga has the distribution rights for the rest of Asia. Goodfellas will handle international sales excluding Asia.[25] Well Go USA Entertainment acquired the U.S. distribution rights and gave the film a limited theatrical release beginning 22 November 2023 in New York, followed by 1 December in Los Angeles, before expanding wide on 15 December.[26][27][28] Nathan Studios distributed the film in the Philippines on 11 October 2023.[29][30]
Reception
[edit]Critical response
[edit]On the review aggregator website Rotten Tomatoes, 96% of 168 critics' reviews are positive, with an average rating of 8.2/10. The website's consensus reads: "Gently devastating in its compassion, Monster is a masterpiece of shifting perspectives that surprises to the end."[31] Metacritic, which uses a weighted average, assigned the film a score of 79 out of 100, based on 40 critics, indicating "generally favorable" reviews.[32]
Reviewing the film following its Cannes premiere, Peter Bradshaw of The Guardian awarded it 4 out of 5 stars, deeming it "a film created with a great moral intelligence and humanity."[33] Vox's Alissa Wilkinson praised Kore-eda's mastery of directing children's performances.[34]
Monster received criticism from queer writers and scholars in Japan, particularly with regard to the marketing, in which the queer themes of the film were concealed and considered spoilers (until it won the Queer Palm at Cannes), and the ending, which the critics saw as perpetuating the film trope of victimizing queer characters.[35][36][37] In March 2024, The Asahi Shimbun published a dialogue between two of the critics, Mizuki Kodama and Rio Tsuboi, and Kore-eda. In it, Kore-eda said he intended the ending to be one in which Minato and Yori choose life, and directed it as a celebration of their being alive. He said he had anticipated that "about 20 percent" of the audience would interpret it as a depiction of an afterlife, which he acknowledged was "undeniably" an underestimation and might have been "naive".[38]
Accolades
[edit]| Award | Date of ceremony | Category | Recipient(s) | Result | Ref. |
|---|---|---|---|---|---|
| Asia Pacific Screen Awards | 3 November 2023 | Best Youth Film | Monster | Nominated | [39] |
| Asian Film Awards | 10 March 2024 | Best Director | Hirokazu Kore-eda | Won | [40] |
| Best Screenplay | Yuji Sakamoto | Nominated | |||
| Best Production Design | Keiko Mitsumatsu | Nominated | |||
| Blue Ribbon Awards | 8 February 2024 | Best Film | Monster | Nominated | [41] |
| Best Director | Hirokazu Kore-eda | Nominated | |||
| Best Supporting Actress | Yūko Tanaka | Nominated | |||
| Best Newcomer | Sōya Kurokawa | Won | |||
| Hinata Hiiragi | Nominated | ||||
| British Independent Film Awards | 3 December 2023 | Best International Independent Film | Hirokazu Kore-eda, Yuji Sakamoto, Genki Kawamura, Kenji Yamada, Megumi Banse, Taichi Ito, and Hijiri Taguchi | Nominated | [42] |
| Cannes Film Festival | 27 May 2023 | Palme d'Or | Hirokazu Kore-eda | Nominated | [21] |
| Queer Palm | Won | [43] | |||
| Best Screenplay | Yuji Sakamoto | Won | [44] | ||
| Chicago International Film Festival | 22 October 2023 | Gold Q-Hugo | Monster | Won | [45] |
| Indiana Film Journalists Association | 17 December 2023 | Best Foreign Language Film | Nominated | [46] | |
| Japan Academy Film Prize | 8 March 2024 | Best Film | Nominated | [47] | |
| Best Director | Hirokazu Kore-eda | Nominated | |||
| Best Film Editing | Nominated | ||||
| Best Actress | Sakura Ando | Won | |||
| Best Music | Ryuichi Sakamoto | Nominated | |||
| Best Cinematography | Ryūto Kondō | Nominated | |||
| Best Lighting Direction | Eiji Oshita | Nominated | |||
| Best Art Direction | Keiko Mitsumatsu and Hyeon Seon-seo | Nominated | |||
| Best Sound Recording | Kazuhiko Tomita | Nominated | |||
| Newcomer of the Year | Sōya Kurokawa | Won | |||
| Hinata Hiiragi | Won | ||||
| Mainichi Film Awards | 14 February 2024 | Best Film | Monster | Nominated | [48] |
| Best Director | Hirokazu Kore-eda | Nominated | |||
| Best Screenplay | Yuji Sakamoto | Nominated | |||
| Best Supporting Actress | Yūko Tanaka | Nominated | |||
| Best New Actor | Sōya Kurokawa | Nominated | |||
| Hinata Hiiragi | Nominated | ||||
| Best Cinematography | Ryūto Kondō | Nominated | |||
| Best Art Direction | Keiko Mitsumatsu | Nominated | |||
| Best Music | Ryuichi Sakamoto | Nominated | |||
| Best Sound Recording | Kazuhiko Tomita | Nominated | |||
| Munich Film Festival | 1 July 2023 | ARRI/OSRAM Award for Best Film | Hirokazu Kore-eda | Nominated | [49] |
| Nikkan Sports Film Awards | 27 December 2023 | Best Film | Monster | Nominated | [50] |
| Best Director | Hirokazu Kore-eda | Nominated | |||
| Best Actress | Sakura Ando | Nominated | |||
| Best Newcomer | Hinata Hiiragi | Nominated | |||
| San Diego Film Critics Society | 19 December 2023 | Best Foreign Language Picture | Monster | Nominated | [51] |
| San Sebastián International Film Festival | 30 September 2023 | Sebastiane Award | Hirokazu Kore-eda | Nominated | [52] |
| Seattle Film Critics Society Awards | 8 January 2024 | Best International Film | Monster | Nominated | [53] |
| Best Youth Performance | Sōya Kurokawa | Nominated | |||
| Stockholm International Film Festival | 17 November 2023 | FIPRESCI Award | Monster | Won | [54] |
| Sydney Film Festival | 18 June 2023 | Best Film | Nominated | [55] |
References
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- ^ Jump up to:a b "The films of the Official Selection 2023". Festival de Cannes. 13 April 2023. Archived from the original on 13 April 2023. Retrieved 18 April 2023.
- ^ mraultpauillac (10 May 2023). "The Screenings Guide of the 76th Festival de Cannes". Festival de Cannes. Archived from the original on 10 May 2023. Retrieved 10 May 2023.
- ^ "The 28th Busan International Film Festival: Selection List". Busan International Film Festival. 5 September 2023. Archived from the original on 15 September 2023. Retrieved 11 September 2023.
- ^ Rosser, Michael (18 November 2022). "Hirokazu Kore-eda to return with 'Monster' as Gaga sets 2023 release". Screen Daily. Archived from the original on 19 April 2023. Retrieved 19 April 2023.
- ^ Shackleton, Liz (1 February 2023). "Wild Bunch Int'l, Gaga To Handle Sales On Hirokazu Kore-Eda's 'Monster'". Deadline. Archived from the original on 2 February 2023. Retrieved 19 April 2023.
- ^ Keslassy, Elsa (31 May 2023). "Kore-eda Hirokazu's Cannes Prizewinning 'Monster' Lands U.S. Deal With Well Go USA (EXCLUSIVE)". Variety. Archived from the original on 23 January 2024. Retrieved 22 January 2024.
- ^ Hipes, Patrick (4 October 2023). "Hirokazu Kore-Eda's Cannes Prizewinner 'Monster' Gets U.S. Release Date, Trailer From Well Go". Deadline. Archived from the original on 23 January 2024. Retrieved 22 January 2024.
- ^ @wellgousa (14 November 2023). "#MONSTER opens in NY 11/22, LA 12/01, and in select theaters nationwide December 15" (Tweet). Retrieved 22 January 2024 – via Twitter.
- ^ Goodfellow, Melanie; Shackleton, Liz (7 June 2023). "Gaga Corp & Goodfellas Post Fresh Deals On Hirokazu Kore-Eda's Cannes Title 'Monster'". Deadline. Penske Media Corporation. Archived from the original on 14 September 2023. Retrieved 12 September 2023.
- ^ Nathan Studios (5 September 2023). "Monster ka ba?" [Are you a monster?]. Facebook. Meta Platforms, Inc. Retrieved 12 September 2023.
- ^ "Monster". Rotten Tomatoes. Fandango Media. Retrieved 27 February 2025.
- ^ "Monster". Metacritic. Fandom, Inc. Retrieved 1 June 2024.
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- ^ Wada-Marciano, Mitsuyo (1 August 2023). 『怪物』をめぐる二重の両義性構造 [The structure of the double ambiguity regarding Monster]. Kyoto University Press. Retrieved 12 January 2025.
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External links
[edit]- Official website (in Japanese)
- Monster at IMDb
- Monster at Rotten Tomatoes
- Monster at Metacritic
Films directed by Hirokazu Kore-eda |
|---|
Winners of the Queer Palm |
|---|
- 2023 films
- 2023 drama films
- 2023 independent films
- 2023 LGBTQ-related films
- 2020s Japanese films
- 2020s Japanese-language films
- Japanese LGBTQ-related films
- Japanese independent films
- LGBTQ-related coming-of-age drama films
- Films directed by Hirokazu Kore-eda
- Toho films
- Films scored by Ryuichi Sakamoto
- Queer Palm winners
- Films shot in Nagano Prefecture
- Gay-related films
- Japanese coming-of-age drama films
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