Written by Maria Manuella Pache de Athayde
The Pink Cloud is the third pandemic adjacent movie I’ve seen in these past few months, the other two being Little Fish, my favorite movie of 2020, and the atrocious Michael Bay produced Song Bird. The movie might seem familiar for those who have seen Contagion (2013), the South Korean The Flu (2013) or the Argentine Toxico (2020); what sets it apart however is the intimate focus on the psychological traumas of a pandemic. This first feature written and directed by Brazilian filmmaker Iuli Gerbase signals a somewhat of a resurgence of Brazilian cinema, especially movies that lean more towards the sci-fi/magical realism realm not unlike last year’s fantastic Bacurau.
Here we continue that exploration through the eyes of Renata de Lelis’ Giovana and Eduardo Mendoca Yago who are forced together into isolation after their first date. In a relationship that would have probably lead to nowhere our leads are forced to explore their dynamic as a couple while navigating the loneliness isolation brings even if there’s some else there with you. While Yago accepts this new reality of confinement Giovana longs for normalcy and loathes her new reality. The struggles we see on screen are those psychological struggles and internal demons we confront at some point during our lives. All happening with the backdrop of a pandemic (quick note movie was written and made before the COVID19 pandemic) and is magnified by the uncommon situation our characters find themselves in.
An intimate portrayal of life, all of its neurosis, and psychological trauma it can bring. The Pink Cloud is a remarkable debut feature from Iuli Gerbase. This is one of those films that I’d suggest you go into with as little information as possible and just sit with it when you’re done. I for one cannot wait to see what’s next for Gerbase and the continued resurgence of genre Brazilian filmmaking.
The Pink Cloud Trailer
The Pink Cloud is currently awaiting Distribution and it played as part the Sundance 2021 Film Festival.
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