‘Dreams’ Review: A Stone-Cold Jessica Chastain Reunites With Director Michel Franco for a Thorny Moral Drama

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As a devoted cinephile, I’ve always admired how Jessica Chastain chooses her roles meticulously among Hollywood’s elite, creating a body of work that champions women and tackles pressing social issues. From the tenacious Molly in “Molly’s Game” to the compassionate Tammy Faye in “The Eyes of Tammy Faye,” she breathes life into characters that resonate deeply. And while not all her roles are paragons of virtue, there’s always a compelling reason behind the impactful role models she presents to the world.

Chastain’s portrayal of the enigmatic character in “Dreams” is an unconventional pick for an actress who meticulously chooses her movie roles, as this character can be perceived as a relentless hypocrite or a deceptively self-delusional femme fatale. To clarify, Chastain has previously ventured into darker territories, such as in 2021’s “The Forgiven.” This isn’t unexpected given that the movie is directed by Michel Franco, who is renowned for his provocative and confrontational work. In their 2023 collaboration, “Memory,” Chastain and Franco have crafted a socially critical film with an especially sharp and poignant ending.

The film ‘Dreams’ scrutinizes the ethical foundations of liberal activism by depicting Jennifer McCarthy, a wealthy San Francisco philanthropist who supports Mexican dancers through her arts foundation. At first glance, this seems benevolent, but the movie begins with one of these talents, Fernando (Isaac Hernández), braving great danger to enter America. ‘Dreams’ delves into both Jennifer’s and Fernando’s lives, challenging the rosy expectations that drove Fernando to embark on this journey. What lies ahead for him in the U.S.?

The clandestine journey portrayed in the movie is a troubling ordeal, vividly shown without any explicit commentary by the director. His detached observation style reflects his influence from strict European filmmakers like Robert Bresson and Michael Haneke; he avoids elements such as music or emotional camera work that others might use to evoke feelings. The impersonal perspective makes it challenging to interpret this immigrant’s character, and it’s difficult for viewers to discern that he’s not a criminal but a talented ballet dancer unless they recognize the actor.

As a film enthusiast, I find myself captivated by the story that unfolds on screen, where a character named Fernando, much like Guadalajara-born Hernández in real life, strives to fulfill his dream of becoming the first Mexican principal dancer at the American Ballet Theatre. In this narrative, Fernando finds himself in San Francisco, sneaking into an opulent mansion, keeping crucial details hidden from the audience at first.

In doing so, Franco, the filmmaker, cleverly plays on our prejudices to influence how we perceive Fernando’s actions: Is he a menacing figure or someone with potential value to the U.S., forced to tread a complex path? The suspense of discovery and the exploration of societal biases make for an intriguing tale that keeps us hooked till the end.

Things aren’t as straightforward as they seem. The mansion actually belongs to Jennifer, who’s taken aback to discover Fernando sleeping naked in her bed. Instead of evicting him, she initiates an intimate encounter – one that’s often complex in Franco’s movies, sometimes brutally intense, yet here seems mutually satisfying. As the story unfolds, we delve into their past: Their affair began in Mexico City, a place where Jennifer wishes it had remained. She still owns a property there and can travel between countries freely. However, for Fernando, navigating the borders is more challenging because he was detained and deported from New York several years ago.

In this situation, Jennifer appears to hold significant power, but Fernando occasionally challenges her by unexpected actions like showing up unannounced and now leaving the country without her approval to establish himself in the U.S. When Fernando disappears, Jennifer utilizes her seemingly endless wealth to track him down. The twisted nature of Chastain’s character is highlighted by her management of the McCarthy family foundation with resources that might have been used to ensnare this younger man. Jennifer is so skilled at this game that she fails to acknowledge the irony of how her self-centeredness has tainted her charitable endeavors. However, as a prominent socialite, she refrains from making their relationship public, which could be seen as evidence that she’s aware of its inappropriate nature.

Although “Dreams” undeniably carries a romantic undertone, as it starts with Fernando journeying over 2000 miles to rekindle his relationship with his beloved, Franco shows no interest in anything as conventional. Instead, the movie’s BDSM power dynamics and explicit sexual content are captivating (they might surprise art house audiences), but it’s the underlying themes that make this realistic and meticulous ethical drama so engaging. These include the age discrepancy, economic disparity, allure of American opportunities, the ever-present danger of arrest, and how some Americans fetishize foreigners. However, what truly stands out is Fernando’s ability to regain control by showcasing his own skills and talent.

Occasionally, the intensity of the suspense is so high that “Dreams” feels more like a nail-biting thriller. This particularly applies to the sequence where Jennifer, after tirelessly searching for Fernando, discovers him performing for a chance to join the San Francisco Ballet. Up until this moment, Jennifer has gone to great lengths to conceal her relationship from her father (Marshall Bell), so she must now be clever and tactful. Watching her navigate her way towards achieving what she desires – essentially bringing the relationship back to Mexico, where her father and brother Jake (Rupert Friend) can’t interfere – is akin to observing a grandmaster playing chess. When the final move is made, it’s both shockingly unforeseen and heartlessly cruel. In dramatic terms, it’s also predictable: the sudden jolt that brings these dreamers back down to earth.

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2025-02-16 00:47