‘Dreams’ Review: Jessica Chastain Is Chilling in Michel Franco’s Scalding Study of Love and Privilege

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Following an unexpected exploration of optimism and affection in his 2023 drama, “Memory”, director Michel Franco reunites with Jessica Chastain, this time delving back into raw reality in the gritty film, “Dreams”. Joined by captivating Mexican ballet dancer Isaac Hernández, Chastain portrays a character who oscillates between desperation and coldness in a complex love story that skillfully manipulates power dynamics. Franco, known for his concise narrative style, effortlessly eliminates unnecessary details, swiftly setting the stage for both protagonists’ predicaments and then progressively intensifying the tension to raise the stakes even higher.

The stricter border controls and swift removal policies implemented by the Trump administration have given a sense of urgency and painful clarity to an immigrant’s tale that stands out uniquely.

The film begins with a gripping introduction, where a truck appears stranded in an isolated area, its body trembling from the desperate thrashing of people imprisoned on the cargo bed, shouting frantically to be freed. Their agonized voices echo powerfully, as we are left to imagine their unseen torment. As the camera eventually pans to their perspective, the doors are forcefully swung open, and they’re hastily escorted into blinding daylight.

Fernando Hernandez trudges through the arid brush without glancing behind, panting as he arrives at a diner and swiftly drains a jug of water before a tense waitress ushers him away. The server’s quick understanding of his predicament is apparent when she later gives him a lift on the road and brings him to her residence for sustenance. Nearly empty-handed except for the garments he wears, he thumbed rides northward to San Francisco, the entire scenario playing out with sparse dialogue.

Upon reaching a luxurious townhouse with a city view, Fernando locates the secret key and enters. He then proceeds to grab food from the fridge. The homeowner, Jennifer (Chastain), later returns home to discover him nude in her bed, asleep. Rather than being startled, she removes her clothes and joins him for some passionate, consensual sex, hinting at their long-standing bond.

It’s not clear for how long Jennifer has been in this situation, but hints suggest she feels at ease when she’s in control, a contrast to Fernando, who made the decision to illegally enter the U.S., which didn’t allow him to be the one making decisions earlier on.

She collaborates with her brother Jake (superbly portrayed by Rupert Friend) and father Michael (Marshall Bell, exuding noble authority) at their affluent family’s philanthropic arts and cultural institute. Her passion project is aiding a dance academy in Mexico City. In addition to this endeavor, as part of a program for disadvantaged neighborhoods, Jennifer is managing the transformation of a San Francisco location into a ballet studio for underprivileged children.

When Fernando grows uncomfortable with Jennifer’s apparent embarrassment about being seen with him, and her efforts to keep him out of sight, he decides to leave and find work for himself. He secures a cleaning position at a motel and informs Jennifer that she should no longer contact him.

As I step foot back in Mexico City, I hop on our family’s private plane and assure a skeptical Jake that I’m off to check out the academy and settle back into our lavish gated home. Chastain masterfully plays a woman who’s used to having her desires met. In a flashback triggered by the kitchen counter, I lay it all out there in explicit sexual detail. Yet when Fernando presents an alternative plan, I’m intrigued enough to go along with his ideas.

For several weeks now, Fernando hasn’t shown up at the academy, and in an awkward situation using Google Translate, his parents (Eligio Meléndez and Mercedes Hernández) inform her that they think he’s still in San Francisco. Although untranslated, the stern tone of Fernando’s mother is clear: “Tell her to back off and date someone her own age.” In the United States, Jennifer decides to hire a private detective to locate him instead.

Franco’s narrative could effortlessly serve as a foundation for a steamy romantic thriller involving a domineering wealthy American woman asserting dominion over a much younger Mexican lover. However, the filmmaker and cast opt for a more nuanced approach, avoiding both excessive drama and sensationalism. Instead, it delves deeply into the intricate adjustments in an unbalanced power relationship, where Jennifer stubbornly refuses to yield control, eventually resorting to ruthlessness when the situation reverses.

When Fernando’s abilities secure him an opportunity at the distinguished San Francisco Ballet without any assistance from her, Jennifer feels irritated. However, this doesn’t stop her from reconciling with him and arranging for him to teach at a new studio. The attraction between them is noticeable when he comes back to her house and receives a warm welcome with an intense encounter on the stairs. Yet, upon discovery by Jake and later her father, Jennifer takes measures to safeguard her standing in both her family and the affluent arts community.

Michael’s conversation with his daughter, filled with careful phrasing, clearly reflected the boundaries set by their wealthy benefactors regarding helping immigrants: “I’m glad you’re assisting immigrants, but remember, there are certain limitations. You understand what I mean.

Suddenly, unexpected developments halt Fernando’s progress at SFB, causing him to return to Mexico City. Not long after, an intoxicated Jennifer arrives, disrupting their peace. However, a startling truth exposed between them shatters the tranquility, leading Fernando to make drastic changes. In response, Jennifer, unable to tolerate embarrassment, takes decisive action against him.

The intense climax of that last act is just as startling, brutal, and chillingly ruthless as anything found in Franco’s body of work, which rarely avoids graphic portrayals of human brutality – whether it be intimate acts of cruelty, such as in the film After Lucia, or societal conflicts on a grand scale, like those depicted in New Order.

In the movie Memory, Chastain gave an exceptional performance. However, it’s clear that she surpasses that here as she portrays a manipulative woman deeply in love with Fernando. Her passion is raw and intense physically, and it seems genuinely sincere on a deeper emotional level, though she maintains certain boundaries. It’s no wonder Chastain was excited to collaborate with Franco once more.

She delivers Jennifer’s sudden, decisive verdict with the shocking impact of a death sentence, inflicting a wound that will leave a lasting scar. Her high, angular cheekbones are sharp enough to draw blood. In essence, she represents the privileged white individual swiftly reprimanding an upstart, which is unsettling, despite it being evident that she too is wounded by the situation.

This year, Hernandez, who began ballet training at eight years old and has danced some of the most renowned classical roles, was promoted to principal dancer at American Ballet Theater in New York. He’s relatively new to acting, but his talent is undeniable – he demonstrates maturity and depth that rivals Chastain. Compared to Hernandez, Jennifer seems to have fewer challenges; she can easily overcome problems by writing a check or issuing an order. We empathize with Fernando, a promising young artist who risks everything for his craft, while Jennifer’s issues seem trivial in comparison.

Franco, along with his frequent cinematographer Yves Cape, chooses not to use background music in his films, allowing the focus to solely be on the performances of the actors. His meticulous observation of character behaviors is both captivating and unsettling, much like a detailed forensic examination.

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2025-02-16 00:55