Cloud
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Venice Film Festival 2024: Before the Revolution
I was trying to make sense of my notes on Happyend when I noticed him. Arms akimbo, left hand drumming his gun holster, the cop was patrolling the press room looking equal parts annoyed, bored, and baleful. I glanced away; when I looked up again, another colleague had joined him in inspecting the crowd of journalists typing at their laptops like exam invigilators. For a festival as militarized as Venice, the sight might not be front-page news: Ever since my first trip in 2014, the security corps deployed across the Lido have grown almost exponentially, reaching near-Orwellian levels in 2020, […]
by Leonardo Goi on Sep 19, 2024 -
TIFF 2024: Cloud, The End
Waiting for Kiyoshi Kurosawa’s Cloud to start, I wondered how much time I’d spent over the years watching his signature warehouses, offices and apartments. The man loves a purpose-built soundstage set, the drabber the better but counterintuitively showcased under unrepentantly artificial lighting—one rung down from “Lynchian” in terms of overt ominousness but similarly ready to radiate menace. Those sets’ simplicity offsets his films’ often elevated eccentricity levels, though by Kurosawa’s standards Cloud is comparatively sedate insofar as it has a fully explicable plot: Online reseller Ryosuke Yoshii (Masaki Suda) offloads one too many shoddy knockoff goods, attracting the ire of […]
by Vadim Rizov on Sep 11, 2024 -
“Ordinary People Who Become Very Violent”: Kiyoshi Kurosawa on Cloud
The J-horrors that catapulted Kiyoshi Kurosawa from reliable gun for hire under the Japanese studio system to internationally revered auteur saw terror as indissolubly bound with tech. Conceived at the turn of the millennium, they spoke to those years’ paranoias about digital life: ghosts pouring out of dial-up internet (Pulse, 2001), senseless murders upending pristine cityscapes (Cure, 1997), and lives aremodeled by perfect doubles (Doppelganger, 2003). Cloud, his latest, offers a new equation, no longer anchoring dread to media but capitalism. It’s not that computer screens are nowhere in sight; the film’s hero, Yoshii (Masaki Suda), is a hustler who […]
by Leonardo Goi on Sep 10, 2024
