Cloud Review

The idea of anonymity on the internet is truly a mirage—something we believe exists but is merely a figment of our imagination. Every day, as we browse the internet, tweet, comment, or engage in various activities, we hope that the people we interact with will keep things online. However, there have been numerous instances in real life where that has not been the case; one of the most common examples is the swatting incidents involving famous streamers. Renowned Japanese director Kiyoshi Kurosawa, in his latest film Cloud, attempts to examine online culture primarily through the perspective of a reseller who exploits people for financial gain. What begins as a suspenseful thriller gradually shifts into an action film in its second half, resulting in mixed reactions.

We follow Ryosuke Yoshii, a reseller known by the handle Ratel, who buys items he believes he can profit from. How does he achieve this? By purchasing cheap items and selling them at a significant markup. He knowingly deceives people at the beginning of the film by buying 30 therapy machines for 90,000 yen, only to sell them for 200,000 yen each. All the machines sell, and with enough money to elevate his business, he quits his job to pursue reselling full-time. However, things are not quite as they appear, as people online attempt to discover Ratel’s true identity while he continues to scam others—and news of his schemes begins to spread.

Without going into too much detail, the plot spirals out of control from there. When Cloud began, I was captivated; watching this man manipulate and profit from others was thrilling. It seemed to build toward something satisfying, but ultimately, it fell flat. The film’s first half is solid and, in comparison to the latter half, feels like it belongs to a completely different story. The concept of never knowing where this film will lead rings true with Cloud. Yet, in the second half, when the plot twists come out of left field and make little to no logical sense, you start to question what you’re watching—especially as the film evolves into a full-blown action piece.

While this change of direction could have worked, it rests on shaky foundations that left me scratching my head in confusion rather than praising its boldness. This significant shift also undercuts the film’s message. Its critique of capitalism could have been powerful, but the tonal pivot undermines all the themes built up to that point in favor of action spectacle.

That said, the transition to action is entertaining. While the sequences are simple in design, the gunplay is well-shot, using wide angles to establish geography and edited effectively, consistently cutting to reveal more information. It features incredible sound design that makes every gunshot and ricochet resonate. This could be due to the use of blanks (I believe they did, given the realistic way the casings eject from the guns), which—while dangerous—produce phenomenal sound. If you’ve seen the film Heat, you know how incredible blanks can sound.

One constant throughout is the excellent acting. While the script may falter at times, the actors work hard to elevate the material and deliver strong performances. Masaki Suda, as Ryosuke Yoshii, is the standout. His portrayal of a cold and calculated character who confronts the consequences of his online actions results in a genuinely excellent performance.

Cloud could have been great. While it is never boring, its confusing change in the second half left me bewildered rather than enthralled. I wanted more from this film—but what I received were grey and muddled clouds instead of clear and perfect blue skies.