Cinema’Cloud – Cloud of revenge ‘transforms hatred into brutal response to a world without empathy

The cinema of the Japanese director KIYOSHI KUROSAWA It has always captured a kind of silent malaise. In films like Healing (1997) and Pulse (2001), horror did not come from monsters or villains, but of the invisible contamination that spreads through human relations, the collapse of communication, the feeling of isolation in a world where everyone seems to be drifting. Its characters inhabit empty corridors, impersonal apartments and cities where silence is more threatening than any scream. Even when flirting with the supernatural, as in Obscure crimes (2006), Kurosawa It is more interested in what disappears – connections, bonds, empathy, humanity – than what appears.

In Cloud – Cloud of Revengeyour newest feature, Kurosawa resumes thrillers of more direct structure and plunges into a social landscape where hatred became a current language. The film starts from a banal premise: a dealer online He lives from applying small blows to vulnerable consumers to climb, gradually, towards absolute chaos. But nothing here is free. The violence that explodes in the third act does not come from chance: it is the natural consequence of a culture that has lost any sense of compassion. In Cloudhatred is no exception. It is a rule.

The protagonist Ryosuke Yoshii (Masaki Suda, The boy and the heron) sells anything from medical equipment to collectible dolls or fake bags, without any concern with those on the other side of the screen. It is not exactly money that moves it, but the game, the sense of control, the cynical joy of seeing strangers being deceived in real time. It is a pure product of your time: isolated, apathetic, disconnected from what you feel and what they cause. But his network of victims, driven by resentment, begins to react. Gradually, the screen is no longer protection and becomes a target. What was impunity becomes punishment.

Cloud It begins as a chronicle of indifference: digital fraud, invisible traps, small humiliations. Little by little, Kurosawa It removes the layers and revealing that virtual violence has a weight that can become real. And if the first act is silent and almost banal, the second becomes an uncontrolled revenge spectacle. The film becomes a thriller of persecution and massacre. Revenge explodes without mercy and no one seems interested in stopping it, but in feeding on it.

What makes Cloud So disturbing is your bitter finding: no one here is innocent. Yoshii It is cynical, its buyers are vengeful and their accomplices are not surprised by violence. No one forgives, no one hesitates. Everyone is willing to crush the other as soon as the opportunity appears. Kurosawa films this universe with almost clinical distancing: the mise-en-scène It’s clean – your career brand – the frames are dry, the environments seem uninhabited. And yet, everything pulsates with tension. When violence explodes, there is no climax, there is diagnosis: it is a sick society.

As in Pulsethe filmmaker proposes that virtuality is a new form of ghostly. Yoshii It goes out as it acts, hides behind profiles, slips and warehouses. He is a kind of poltergeist of e-commercea presence that destroys lives with clicks. But the frightening is to realize that he is not alone. The whole universe of Cloud It is made of ghosts disguised as real people, all acting by interest, grudge or omission.

Even with this weight, Cloud It has rhythm, sarcastic humor and a brilliant final sequence with shootings and elegance -staged persecution and a geometry exemplary. Kurosawa It seems to have fun with the insanity of the movie itself, never losing awareness of what you are saying. And what it says is hard: we live in a time when empathy has been replaced, and hatred has become automatic response. Revenge, in this world created by the filmmaker, is no exception. It is the standard. AND Cloud – Cloud of revenge It shows this without mercy.

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