The pink gas that gives the film the title can kill a person within the first 10 seconds of contact. He appeared without warning or clear origin, and because he is so deadly, when he does happen, everyone in the world has had to take cover exactly where he was. Luckily for Giovana (Renata de Lélis) and Yago (Eduardo Mendonça), the cataclysmic event surprised them as they woke up in his apartment. With the prospect of being trapped together for years to come, what might have been an overnight fling between strangers turns into the other’s most crucial decision. The plot’s similarities to what we’ve been through collectively are eerie, from how all of our jobs and hobbies have adjusted to our new reality trapped inside, to how our relationships with others have become entirely virtual. beyond our home.
Ambitious in scope, Gerbase follows this relationship to its lowest points, like the couple’s planning activities so that they don’t have to cross paths, and then to the exhilaration of renewed hope. In these dramatic ebbs and flows, she investigates what is invariably important to our minds in order to endure even the most unimaginable events. De Lélis plays a woman angry with the universe for stripping her freedom, while Yago de Mendonça refuses to acknowledge the tragedy of their situation. Her apprehension and denial react explosively. Even though the whole story takes place in such a limited space, the filmmaker’s layered writing and meticulous execution to mark the passage of time still makes it intriguing. We’ll never know what it would have been like to watch this movie without a first-hand knowledge of what the characters are going through, but perhaps the strangest effect of “The Pink Cloud” is that, in comparison, it makes you thankful that our current situation is not so extreme in its filth.
Curiously, the third act by Argentinian storyteller Ana Katz “The dog who wouldn’t be quiet” also involves a bizarre global event that changes the way people interact. Watching these two works back to back makes it impossible not to notice the similarities, not only when talking about how we cope, but how it approaches the things that make sense to us. With a lot of wacky humor, this succinct black and white ode to a simple but fulfilling life is delicate.
Upon meeting the kind-hearted hero Sebastian (Daniel Katz, the filmmaker’s brother), we learn that the source of his troubles is his dog, or better said the discomfort of others with the way he cries when left behind. only. His office job does not accept pets either, so he moved to the countryside. But as fate throws a curve at him, his only option is to reinvent himself as many times as necessary. It follows a series of ephemeral but poetic vignettes that take him away from the pretension of modern life and find himself in a state of contentment, even if all does not go as planned.