Monster is not to be confused with the homonymous Charlize Theron film which is about 20 years older and at least 20 times less Japanese.

Like Rashomon meets Luce, this drama tells the story of a dispute between a boy and his teacher from three perspectives: first the boy’s mother (Sakura Andō), then the teacher (Eita Nagayama), then the kid himself (Sōya Kurokawa). Not only is the triptych framing device dramatically effective, it also reveals in slow-motion the dangers of judging others without trying to understand them.

Hirokazu Kore-eda (Shoplifters) impressively maintains a consistent mood while effectively making each segment a different genre, from We Need to Talk About Kevin-esque thriller to Another Round-style comedy of errors. There is something farcical about the teacher’s propensity to make things worse, not helped by the faculty at the most badly managed Japanese school this side of Battle Royale.

While it won’t be passing any Ofsted inspections, Monster thrives on the tenderness of its story and performances. Kurokawa and Hinata Hiiragi show depth beyond their years as sympathetic schoolkids, while Andō brings much-needed humour as the mother whose presence you miss after the first act. It all adds up to a modern mystery that’s sweet, sad and scary, but not necessarily in that order.