Godzilla Minus One (2023) Community, Camaraderie, and Godzilla at his most Terrifying

In 1954, a giant creature entered the frame of a Japanese monster movie. A name (with two forms) echoed around the world like a deafening ‘Skreeonk,’ and this name has continued to echo for 70 years. Gojira/Godzilla is one of the most iconic and recognisable figures in popular culture, perpetuated in films, comic books, animated series, and video games. In 2023, another version of Godzilla appeared—one that, in some ways, harkens back to the character’s roots, while in other ways feels fresh and contemporary.

Written and directed by Takashi Yamazaki, Godzilla Minus One takes place in the aftermath of World War II. Koichi Shikishima (Ryunosuke Kamiki) is a former kamikaze pilot plagued by survivor’s guilt. He forms a makeshift family with Noriko Oishi (Minami Hamabe) and Akiko (Sae Nagatani) amidst the literal ruins of post-war Japan. Koichi also joins a minesweeping crew composed of Sosaku Tachibana (Munetaka Aoki), Shiro Mizushima (Yûki Yamada), and Seiji Akitsu (Kuranosuke Sasaki), tasked with detonating naval mines left over from the war. Through these different relationships, the film explores themes of rebuilding within the context of national trauma and reflections on war, duty, and patriotism.

This setup forms a strong foundation for an introspective character drama—an approach that might seem unusual for a kaiju film. Not to worry, though: amidst the rebuilding and re-evaluation comes another source of destruction in the form of a gigantic reptile. Koichi first encounters Godzilla on an island before the end of the war, but subsequent nuclear tests enlarge and empower the creature to gargantuan proportions. Attacking first ships and then cities, this Godzilla is a terrifying force of nature. Its scale and power are expressed through wide-angle shots that show it dominating the frame, as well as close-ups of its malevolent, vicious face. While it may seem unfair to ascribe malice to an animal, this portrayal underscores the danger posed by Godzilla—not just to individuals, such as when it charges through the ocean toward Koichi’s boat, but also on a broader scale, as it crushes buildings with its hands and shatters them with its tail. Unlike earlier depictions, this Godzilla is actively aggressive toward humans, seemingly enraged at their presence in its world.

This visceral aggression is brought to life by Oscar-winning visual effects, which render Godzilla through digital animation. The use of digital effects makes Godzilla Minus One feel contemporary, with the monster depicted as agile and dynamic in a way distinct from the traditional suitmation used in most Toho Studios kaiju films. While American versions, from Roland Emmerich’s 1998 misfire to the Warner Bros. MonsterVerse outings, have also used digital effects, Yamazaki’s approach remains unique. The film bridges past and present by incorporating historical echoes of the franchise, especially the original Gojira. These nods include explicit references to Godzilla’s first appearance on a Pacific island, ties to local myths, the use of Akira Ifukube’s iconic score in Naoki Sato’s music, and a scene where Godzilla bites through train carriages—a moment that recalls the terrifying destruction of earlier films.

The film’s thematic core parallels Godzilla with nuclear weapons, much like Ishiro Honda’s original Gojira, which metaphorically explored nuclear anxiety and Japan’s trauma. Godzilla Minus One explicitly connects the monster to national suffering, emphasizing Japan’s weakened post-war state—Minus One, symbolizing a country with nothing left. The film illustrates this ongoing devastation through scenes of destruction, particularly Godzilla’s heat ray (or atomic breath), which creates a mushroom cloud that starkly resembles a nuclear explosion. These scenes are largely shot at ground level, allowing the audience to experience the terror and helplessness of civilians much like the victims of bombings. The film is also critical of authority: occupying American forces provide no assistance, and the Japanese government remains largely inactive. This criticism gives way to an inspiring community effort, as civilians—including our heroes—unite to confront this enormous threat. Ingenuity and courage are key, but the film crucially avoids glorifying sacrifice. Instead, it champions living for the future and for each other.

The humanity in Godzilla Minus One is bolstered by charming and even humorous moments, such as the banter between Koichi and his work colleagues, Sumiko Ota’s (Sakura Ando) playful scolding of young people, and some heartfelt pleas. These elements make the film deeply emotional, its tone balancing community, camaraderie, and non-traditional family dynamics alongside destruction and adventure.

This 4K edition of Godzilla Minus One offers a 64-page booklet, Collector’s packaging, and extras including a behind-the-scenes featurette on the making of the film and its visual effects, a special programme titled Behind the Scenes: Godzilla -1.0- No.30 – Toifumono, footage of the press conference and world premiere red carpet event, a talk by director Takashi Yamazaki, and a trailer collection. The release also includes the original version of the film and Godzilla Minus One Minus Color, a monochrome version that deepens its connection to the original Gojira. This monochrome edition gives the film a more period-appropriate aesthetic, with the stark contrasts between Godzilla’s dark form and the lighter tones of the city and its people emphasizing the clash between humanity and nature.

Ultimately, Godzilla Minus One is a powerful and moving tale. With its blend of melancholy, thrills, and hope, the film pays homage to its storied predecessor while carving out its own unique place in the Godzilla canon.

Vincent’s Archive – Godzilla Minus One (2023)