Kiyoshi Kurosawa capped off one of the most prolific years of his career in 2024 with “Cloud,” his third release of the year and arguably the most idiosyncratic entry in his extensive filmography. Drawing on decades of experience, Kurosawa weaves together his signature techniques to create something that feels both fresh and unmistakably his. Long recognized as Japan’s master of psychological thrillers, he continues to find new and unnerving ways to unsettle his audience, proving that even after all these years, he still has surprises up his sleeve.
Though it is easy to focus on Kurosawa’s distinct cinematographic choices, what truly sets “Cloud” apart is the sound design. In the same way, it would be impossible to imagine a “Godzilla” movie without its iconic roar and bone-shattering stomps; “Cloud” is absolutely nothing without its sonic landscape. Every subtle shuffle and every prolonged silence is all focused on the next sudden impact. The absence of score and superficial effects envelops the film in stark realism, ensuring that its climax rips through the audience at a sufficient pace.
The action is enthralling, every gunshot you feel. The volume is dialled right up for that supreme impact. The tonal shift to split the film in two when the action starts to ramp up and the ordinary is shaken, elevates Kurosawa’s world-building to majestic new heights. The panic and the anxiety rise through every scene, played masterfully by the renowned Masaki Suda in what’s possibly one of his career-best performances. Among the cast, he revels in the shadows in a masterclass of subtlety whilst retaining his starpower charisma. The oddball revenge seekers truly juxtapose the relatively flat and withdrawn Yoshii, in a rather unique blend of anti-hero and villain narrative.
Terror has long been considered Kurosawa’s bread and butter, so it was always clear that “Cloud” would be anything but conventional. Yet here, fear reaches its most potent and palpable form. The film lulls you into a false sense of comfort with its slow pacing and steady rhythm, only to jolt you awake with a sudden engine block crashing through a window or a double-barrel shotgun tearing through someone’s chest. There’s an ever-present sense of unease that permeates every character, making it impossible to place your trust in any one of them. Every action feels individualistic, driven by self-interest. The sole exception is the character of Sano, whose presence hints at something deeper, perhaps even selfless.
Sano is an enigma, and one of the film’s most enduring mysteries. Despite some seemingly untrustworthy actions, it appears his primary motive is to ensure the success of Yoshii. We come to learn his mob connections and his proficiency in weapons, yet these fundamental elements of his character are never explained. However, this additional mystery feels rather strange and even a little out of place alongside the quite well-rounded conclusions the film provides.
Kurosawa’s confidence in his cinematic style is evident. However, it is easy to assume he might be asking too much of the audience. Within the restrictions of his minimalism comes a potent inability to express. As soon as the film is over, it becomes increasingly more apparent to the audience how unsatisfying “Cloud” can be. All the unanswered questions and the withdrawn perspective leave the audience wondering, ‘What was the point?’ Which may be the film’s greatest downfall. All the craft and expertise in the world can’t make up for a meaningless film. Which, scarily, might be what “Cloud” all boils down to — meaningless.
There is such potential for a fierce social commentary on the plague of scalpers and resellers dominating the e-commerce market. Yet this potential never fully unravels itself on the big screen. It remains too rigid and withdrawn to effectively dive within the cracks of society, ultimately revealing very little and nothing new. This is the fundamental and most major flaw of the entire production – the lack of a significant and overarching meaning. When you look at the film at first glance, it’s a delight. The film is action-packed, looks beautiful, sounds beautiful, intriguing characters. Yet it’s almost impossible to have a proper final takeaway where you can definitively say the film truly stands for something.
The simplicity may still be a stylistic choice from Kurosawa. He has previously stated he wanted to make an action film out of the ‘ordinary’, which can be seen in “Cloud.” Even so, you come to wonder if it’s truly justified. The film is entertaining, most certainly, but does it truly miss the mark on standing for something more than just a film? It hints at this notion, prodding the extraordinary and wafting the idea that it could transcend to something beyond just art. Sadly, it never realizes that final potential.
Ultimately, “Cloud” is a very polarising film that provides endless discussion about its characters, themes, and narrative. There is no doubt you’ll come out feeling something, it is by no means soulless. Though its overarching message is difficult to decipher, it does provide ample room for discussion. Despite some flaws, it is still a profound work from a Japanese master; it shouldn’t be missed, and will only enrich your cinematic journey.
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