Fitting in the nuclear theme of the International Film Festival of Archive, Memory and Ethnography, The Great Gray Cloud combines, in a unique way, a concrete social and economic reality with the reverberation of this reality in the singular existence of a life. This impact summons a mode of contemporaneity between the public and the private, the common and the singular, simultaneously, in a continuous and tensional way. By rescuing the story of Lydia in her inscription in a common social and economic time - a space lived in the fragile line between struggle and love of the land - the use of archival images is developed under a movement that is intrinsically justified in the cinematic rhythm.
In this film, the relation between archive and time opens the rhythm of a temporality that, in its slowness, constitutes itself as the configuration of a human time, far from a time without ballast, presenting, in this slowness, a way of resistance to temporality typical of an aesthetics of digital era.
In this documentary film, black-and-white photography draws a form of summoning reality in a singular way because, provoking the aesthetic intensification of the reality lived in a tin Romani neighborhood, creates an aesthetic fold that allows a distance from reality: a time of thought that is marked, particularly, by the rhythmicity of the black and white and the fixed shots of the faces. The approximation of the images to a substantively violent reality is fulfilled through a look that affirms the dignity of each character and its common history.
This film summons a contemporary reality - the forced exile of individuals and peoples - in a way that transcends pure fictional space: the opacity of the presented narrative opens a tensional filmic route that, moving away from the simple communication of a narrative, constitutes the shots and its sequence as an artistic object that challenges the viewer by the questions that he poses in the latent space to the images and their assembly.