
The 12 Day Tale of the Monster that Died in 8
2020

2015
Director
Alessio Lauria
Runtime
78 minutes
Average Rating
No ratings yetSynopsis
In an alternate present, Paolo's job is to anonymously counsel the employees of his company. He's the best in what he does, but an employee's suicide attempt might call into question his life as he knows it.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film offers no explicit evidence regarding the sexual orientation or gender identity of its characters. The narrative focus remains on psychological and systemic dynamics rather than identity-based exploration.
Gender Representation
A balanced ensemble is suggested by the presence of prominent female cast members like Valeria Bilello. However, the film lacks specific details regarding character agency or the subversion of gendered hierarchies.
Racial & Ethnic Diversity
The cast and setting suggest a localized, likely European-centric narrative. While there is no evidence of harmful stereotyping, the lack of information regarding an intersectional cast limits the score.
Religious & Cultural Diversity
The dystopian framework critiques Western institutional structures and capitalist hegemony. By focusing on the psychological toll of surveillance, the film explores the erosion of privacy and subjective morality.
Disability Representation
The plot centers on a mental health crisis involving a suicide attempt. It is unclear if the character is afforded agency or if the condition serves merely as a plot device.
Strengths
Areas for Improvement
AI Analysis
Monitor functions as a genre-driven critique of systemic power and corporate surveillance. The story uses a dystopian setting to explore the tension between institutional oversight and individual autonomy through the lens of a psychological counselor. While the film provides a foundation for critiquing Western social hierarchies and capitalist structures, it lacks overt demographic diversity. The narrative prioritizes psychological tension and the mechanics of surveillance over intersectional identity politics. Ultimately, the work remains neutral on many identity-based fronts, focusing instead on the metaphorical panoptic structures of modern capitalism and the fragility of the individual within a monitored society.

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