DREAMS - Review | Berlinale 2025

Michel Franco’s latest film provides an odd but singular perspective to an endlessly told set up following illegal immigrants in America. This perspective shows viewers to what extent would an older/wealthy American woman go through to keep a younger Mexican ballet dancer she’s deeply affectionate for all too herself while ignoring his intents. The result ends up being Franco’s least depressing film featuring his distinct style on executing almost every scene using one detailed master shot. However, the two fascinnating performances from Jessica Chastain and Isaac Hernández whose dynamic and the provocative directions it goes in makes Dreams worth seeing. Even with a stronger first than second half that felt like a major point of the story was rushed. The gut punch that the film ends on will leave an impression on viewers for Franco’s most slightly accessible film to date.

Still Courtesy - Greenwich Entertainment

Fernando Rodríguez (portrayed by Isaac Hernández) is an exceptionally talented ballet dancer from Mexico City whose always dreamed of growing his career in the United States. Despite not having a visa where he risks it all and enters the country illegally, the American daughter of a wealthy businessman named Jennifer McCarthy (portayed by Jessica Chastain) will do anything to protect/shelter him given her intense attractive obession with him. However, when it gets to the point that Jennifer insists that he should go back to Mexico for safety where she'd join him, Fernando tries to distance himself from her to as much as possible to achieve his dreams. Jennifer still won't take no for answer as she does whatever she can to track down Fernando and make sure that he's kept safe with her, even if it's against what Fernando wants.

Known for not shying away from discomfort, Franco's second collaboration with Chastain ends up being a provocative exploration of power dynamics, obsession, and the complexities of human desire, set against the backdrop of the ongoing struggle of illegal immigration in America. Franco takes a fresh approach to this oft-told narrative by centering the story on an unlikely and deeply unsettling relationship between an older, wealthy American woman, played by Jessica Chastain, and a young, aspiring Mexican ballet dancer, portrayed by Isaac Hernández. Rather than focusing solely on the immigrant’s plight, Franco shifts the lens to explore the woman's possessiveness and the lengths she’s willing to go to control the dancer’s life. The film’s most compelling aspect is its portrayal of how love can be warped into a controlling, almost suffocating obsession when one party is given too much power. The film’s exploration of this imbalance gives Dreams a unique and uncomfortable tension that challenges the viewer’s expectations.

One of the standout features of Dreams is Franco’s trademark approach to cinematography, which continues to shine here with his use of long, intricate master shots. Each scene feels meticulously composed, giving the viewer a sense of intimacy and control over the unfolding drama. Franco’s decision to almost exclusively use these long takes serves not only as a stylistic choice but also as a narrative device, forcing the audience to fully absorb the nuances of each interaction without interruption. This technique amplifies the discomfort that lingers throughout the film, heightening the tension between the characters as their personal and professional lives begin to intertwine in increasingly unsettling ways. The camera lingers just long enough to let the emotional weight of each moment settle, creating a palpable sense of unease.

Jessica Chastain’s performance is a tour de force, embodying a character whose affection for the young dancer veers into unhealthy territory. Chastain plays a woman who cloaks her obsessive behavior in the guise of concern, using her wealth and influence to create a world where the dancer has little choice but to remain within her grasp. The complexity of Chastain’s portrayal allows the audience to understand her character’s motivations, even as they recoil from her actions. In contrast, Isaac Hernández, known primarily for his work as a ballet dancer, delivers a strikingly understated yet powerful performance. Hernández’s role as the dancer, caught between his desires and the forces controlling him, serves as a haunting reflection of the exploitation that often accompanies the immigrant experience. The chemistry between Chastain and Hernández is electric, and the shifts in their dynamic—from seemingly innocuous to deeply disturbing—are both mesmerizing and chilling.

While the first half of Dreams is riveting in its exploration of this twisted relationship, the film falters somewhat in its second half. The pacing slows significantly as the narrative shifts to a more conventional conclusion, and what was once a slow burn of tension begins to feel rushed. A key turning point in the story, which could have served as a powerful moment of revelation or transformation, is handled too quickly, leaving the emotional stakes feeling less potent than they could have been. While the first half is undeniably captivating, the latter portion of the film doesn’t quite live up to the promise of its setup, making the story feel uneven. Nevertheless, Franco still manages to convey his core themes with clarity and subtlety, and despite the pacing issues, the film maintains its gripping sense of discomfort.

The ending of Dreams is undeniably one of its most striking features, offering a gut punch that resonates long after the credits roll. Franco, known for his unflinching approach to difficult material, does not shy away from delivering a conclusion that challenges the viewer’s emotions and understanding of the characters. It is a finale that might leave some feeling unsettled but also forces reflection on the complexities of human relationships and the ways in which power can be wielded, often in the name of love. In this respect, Dreams is Franco’s most accessible film to date, as it balances his signature starkness with a more universally resonant story. The unsettling nature of the film, paired with Chastain and Hernández’s performances, makes Dreams worth seeing for those looking for a thought-provoking, visually striking experience. While it may not be as polished as some of Franco’s previous works, the film’s emotional resonance and thematic depth make it an unforgettable exploration of obsession, power, and the human desire for connection.

Verdict

7/10