Voici la réponse de Lucius Shepard.
Gareth Edwards' Monsters surprised me by taking a pulp idea---spores brought back to earth on a crashed NASA probe grow into monsters the size of apartment blocks--and turning it into a character-driven drama/science fiction flick...and all for a reputed 15K.
Edwards' story is simple. A photojournalist seeking to take pictures of the monsters is enjoined to escort the daughter of his wealthy employer (she has been slightly injured in a monster attack) to a port where she can catch a ferry from northern Mexico back to the States. The ferry, however, is closed to them and they are forced to make their way overland to the Mexican-American border. As they travel north they are befriended by various people living in the "infected zone" and form an emotional attachment with one another.
For all its simplicity Edwards' narrative is wonderfully nuanced. By not focusing on the monsters as a problem to be solved, pushing that portion of the story into the background and focusing instead on the people living in and passing through the zone, he angles the plot away from a traditional resolution and manages to draw a sub-textual parallel between the monsters and his two main characters: All have been dropped into a hostile alien environment and are bungling their way along, uncertain of their every action. This parallel resonates throughout the movie so that during the climax, a close encounter that takes place in an abandoned truck stop on the US side of the border, monsters and humans come together in a scene that creates a Sturgeonesque sense of wonder and demonstrates both the sweetness and the incomprehensibility of all life.
Most science fiction films are exercises in the formulaic, so it's always surprising when a movie comes along that exceeds that expectation. With its micro-budget, its three-person crew, and persuasive special effects, Monsters is not only good science fiction, but a remarkable technical achievement as well.