Ko brilliantly exploits genre production values to narrate his tale on humanity’s struggle against contemporary evil in Mon Mon Mon Monsters.
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Values and code of conduct are often disregarded as distractions in city life. In Giddens Ko’s latest film based on a self-penned story, Mon Mon Mon Monsters studies how contemporary high school teenagers’ tendency to bully and stubborn disregard for almost everything leads to a hopeless new generation of youth in our society.
Set in Taiwan, the entire class subjects a talented and obedient student to bullying and abuse. Getting persecuted for being the only one who tries to do good, it takes strong will and principles to tide goodness through evil.
Nobody wishes to be lonely and subject of ridicule. It is therefore too easy to be misguided under such circumstances – if you cannot beat them, join them. Lin Shu-wei (Deng Yu-Kai) finds himself in a similar situation. He tries once by confronting his bullies led by Ren-Hao (Kent Tsai), but eventually submits himself to their deeds so as to escape the fate of being bullied – by bullying others.
In an early scene, the gang of bullies is seen abusing senile old folks while taking selfies of themselves while at it. Within the same compound, the teenagers witnessed the human flesh-devouring monsters – a young girl and an elder sister. Under penned circumstances, they manage to keep the youngling under chains and captivity – only to do unspeakable acts towards her.
While many films have often celebrated ill fates befalling upon wicked antagonists (for instance, blowing up zombies), Ko has chosen to humanise the pair of monsters. The elder monster still has affections for her younger sister, where she is seen tucking her into the cardboard box to sleep. During captivity, the young girl is often seen whimpering with tears as they drill nails into her and yank out her teeth.
Ko did not elaborate back-stories of the teenagers to establish drivers of their behaviours, but only drop brief hints of broken family for Ren-Hao. This was similar for the monsters where Ko broadly attributed their misfortune to some black magic – they were human beings before turning into creatures.
There is also a side character worth looking into – the Buddhist form teacher (Carolyn Chen) who condoned the bullying but suppressed herself with religious prayer chants before she exploded in one scene where she hurled unwarranted remarks at Ren-Hao and slapped him profusely. This plot thread wasn’t explored further, which was opined to be a letdown given the ambitions of the film.
Ko’s mix-genre production, which many may find an absorbing watch of blood, violence, and dark humour, is technically well crafted. Previous genre films may have inspired his horror technique and production values adopted, but he has reflected potential in crafting darker materials (akin to last year’s The Tenants Downstairs). Most would remember him for his 2011 teenage rom-com hit You Are the Apple of My Eye and 2014’s Café. Waiting. Love that he scripted.
When the film ends with desolation, Ko reveals a pessimistic perspective towards our young generation that is hopeless and requires a total annihilation. Ko brilliantly exploits genre production values to narrate his tale on humanity’s struggle against contemporary evil in Mon Mon Mon Monsters.
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