Film Review: The Pink Cloud



The pandemic has inspired loads of films about isolated people because isolation is where we’ve all been for a year and a half. Surprisingly, The Pink Cloud was filmed pre-COVID, but you wouldn’t know it by the way it poignantly captures the maddening nature of being stuck inside. This quiet Brazilian sci-fi feature posits: What if, when the deadly thing hit, you were immediately confined where you stood indefinitely. You’re at a slumber party with your fellow tweens and one single dad. You’re at the grocery store with strangers and your partner is at home, alone. You’re spending a leisurely morning with the person you picked up in a bar the night before, expecting them to leave soon. No walks around the block to cool off. No therapeutic trips to Trader Joe’s. These walls are now your entire world. 

That’s what happens to the protagonists of The Pink Cloud, a meditative, understated disaster film from writer/director Iuli Gerbase. In this case, the McGuffin is a toxic, pink cloud that inexplicably rolls in all across the globe and kills anyone who breaths it in within 10 seconds…

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Film Review: WYRM

It’s difficult to impart a sense of Christopher Winterbauer’s feature debut, Wyrm without making it sound like a bit of a drag. The films’ own synopsis compares it to Yorgos Lanthimos (presumably The Lobster) and Todd Solondz, (presumably Welcome to the Dollhouse). The film also lends itself to comparisons to Napoleon Dynamite, but again, this is unfair. Winterbauer’s film, based on his 2017 short, isn’t nearly as nihilistic as Lanthimos or Solondz, and it’s much more nuanced than Jared Hess’ breakout smash. On its face, the script is about the mortifying awkwardness and quiet indignity of junior high sexuality, but underneath, it’s a poignant exploration of grief and the myriad ways it manifests. 

Wyrm (Theo Taplitz) is the unfortunately-monikered titular protagonist and his origin story is tragic. Born with a heart condition, he is the latest of bloomers, and literally the last kid in his 8th grade class to complete his Level 1 Sexuality Requirement. Until he’s kissed by a willing romantic partner, Wyrm must don a bulky, chafing collar around his neck, telegraphing his predicament to everyone he encounters. His twin sister, Myrcella (Azure Brandi), was once his closest confidant. But now that she’s “popped her collar,” she wants nothing to do with him and is even angling for her own room…

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SFFILM Review: Censor

Most Americans probably don’t know that before Tipper Gore wreaked havoc on the United States music industry with her crusade against profanity in art, the UK had their own epidemic regarding the world of straight-to-video slasher films. Prano Bailey-Bond sets her directorial debut in a Thatcher-steeped 1980s Britain, when the BBFC (the British Board of Film Classification) demanded to run so-called Video Nasties through a rigorous screening process that resulted in mandatory edits and a viewer rating. Censor never namechecks the BBFC, but it’s clear that the film’s troubled protagonist, Enid (Niamh Algar), works for the organization. For her, it’s more than just a job – it’s a calling. That’s why she’s shocked when a brutal murder makes headlines for being linked to a film that she herself screened and rated. Soon, Enid is the victim of sinister phone calls and other harassment. Meanwhile, she is disturbed by a film that eerily resembles an incident from her childhood which resulted in the disappearance of her sister. Is Enid the victim of a sinister conspiracy, or is there something more internal at play? 

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