Aki Kaurismäki has directed numerous films focusing on ordinary people struggling against societal forces—those who risk being ignored by government programs and business initiatives intended to assist them. KAUAS PILVET KARKAAVAT, made in 1996 and known as "Drifting Clouds" elsewhere, tells one such story of hardship. Ilona (played by Kati Outinen) and Lauri (Kari Väänänen) are a content married couple until Lauri loses his job driving trams due to route cancellations. Shortly after, Ilona, who manages a restaurant, finds it taken over by new owners who no longer require the existing staff. The film follows their repeated rejections in job searches, encounters with intimidating individuals exploiting their need for work, and yet maintains a comedic tone throughout. Kaurismäki’s humor is understated, occasionally perhaps too subtle for audiences unfamiliar with Finnish sensibilities, but it remains generally amusing, with some genuinely funny moments. The movie possesses a distinct quality of magical realism. Although seemingly set in the present day, the characters and many of the interior settings appear to have come from the 1950s. This is an important characteristic of Kaurismäki's style, recurring throughout his films. Additionally, Ilona and Lauri’s determination to support themselves without receiving unemployment benefits from the government feels unusual but not entirely unexpected for the time period. While Kaurismäki would later express skepticism toward social welfare programs in MIES VAILLA MENESYYTTA (Man Without a Past), he does so with more restraint here, conveying a sense of quiet dignity rather than resentment. Despite the somewhat contrived nature of the film's resolution, I thoroughly enjoyed KAUAS PILVET KARKAAVAT. The movie is largely carried by Kati Outinen’s unique presence, who despite experiencing numerous setbacks maintains an optimistic spirit and bright eyes, like a charming lost dog. Kaurismäki requires his actors to deliver understated performances, and Outinen has consistently worked with him using this approach; however, it's impressive how she finds nuances within that constraint—her portrayal of Ilona is quite different from her role in Kaurismäki’s VARJOJA PARATIIISISSA. Markku Peltola’s performance as a drunken cook also stands out. The film’s color scheme is noteworthy too, demonstrating a new level of sophistication in the director's visual style.

Source on TMDB