Michel Franco’s “Dreams” Premieres at Berlinale: A Tale of Desire and Power Games
Michel Franco’s latest film “Dreams” has landed at the 75th Berlinale, and it’s definitely one for the award season conversation. The film stars Jessica Chastain alongside renowned ballet dancer Isaac Hernández as Fernando, creating what should be a steamy tale of cross-border romance that instead becomes something far more complex and troubling.
Hernández, making a remarkable screen debut, plays a Mexican ballet dancer who crosses the US border illegally, believing Chastain’s wealthy American character Jennifer will help advance his career. The relationship quickly sours as she becomes increasingly uncomfortable with both his immigration status and their age gap. When Fernando begins rising through the ranks of an American ballet company, landing prestigious lead roles despite his unresolved paperwork, their dynamic takes a dramatic turn. Chastain’s character, in a moment of vindictive impulse, reports him to immigration authorities.
Yves Cape’s cinematography is absolutely incredible, particularly evident in an masterfully blocked intimate scene on a staircase. The technical flourish here cleverly masks what becomes increasingly apparent throughout the film – the leads have absolutely no chemistry. Their lack of connection is so painfully palpable that it transcended the screen, manifesting at the Berlinale premiere where Hernández maintained a noticeable distance from Chastain on the red carpet.
The costume design by Mitchell Travers is nothing short of impeccable. In fact, the film deserves viewing for this aspect alone – it’s a masterclass in character development through wardrobe.
The narrative takes a decidedly dark turn when the action shifts to Mexico, delving into themes of imprisonment, sexual assault, and the ultimate darkly sweet revenge. During the press conference, Chastain mentioned her growing attraction to roles that might provoke audience anger, though this particular character feels less provocative and more morally ambiguous.
Franco doesn’t shy away from making both characters deeply flawed, though the film’s impact is somewhat diminished by the leads’ evident disconnect. The only truly convincing moments between them occur when their characters are meant to be at odds – perhaps an unintended meta-commentary on their off-screen dynamic.
While “Dreams” will certainly spark discussion during awards season, its technical achievements – particularly in cinematography and costume design – outshine its emotional core. There’s a lot to think about here, but the film’s exploration of power, desire, and revenge is hampered by what seems to be a fundamental casting misalignment. The seams show most prominently in the supposedly romantic scenes, where the lack of chemistry becomes impossible to ignore. That said, the blocking and technical aspects often manage to elevate these moments beyond their interpersonal limitations.
It’s a film that leaves you with plenty to contemplate, even if not all of it was intentional. Franco’s direction, combined with Cape’s stunning visuals and Travers’ exceptional costume work, creates a technically accomplished piece that might have soared higher with leads who could generate the required heat.
Editor in Chief of Ikon London Magazine, journalist, film producer and founder of The DAFTA Film Awards (The DAFTAs).
