Among the stars of Hollywood in her generation, Jessica Chastain was uniquely selective about the characters who agreed to embody them, which led to the enabled the movie “Game” (from “Molly to” Tamami Ayoun Fai)) and focuses on social issues (“Miss Sloan “A woman walks forward”). Her characters are not always good people, but there is always a good reason for the type of models you want to put in the world.
This makes incredibly destroyed force a vision in “dreams”-which can be read as disgustable hypocrite or as a self-deceased sickness, which is a busy choice for a star that carefully saves her movie. It should be said, this is not the first time that Chastain has crossed to the dark side (see “The Forget” 2021), and it is not completely surprising, given the reputation of director Michelle Franco to make a notorious confrontation. Based on the confidence that was created during their cooperation in 2023, “Memory”, Chastain and its director, they provide provocative social criticism with a very add -on bite in the tail.
“Dreams” dares to question the morals and motives behind the liberal activity, as Chastain was presented in the role of Jennifer McCarthy, the elite in the improved San Francisco that sponsors the Mexican Dancers Foundation in their home country. Looks great enough, right? The film opens with one of these miracles – a young man named Fernando (Isaac Hernandez) – risking his life to cross the border. “Dreams” is his story as it is Jennifer, as holes return to the long shot that forced Fernando to make this Hajj. What is the future that is really awaiting it in the United States?
Its illegal traffic is a disturbing process, its horrors are depicted without commenting in Franco’s cold style (it’s a product of European influential influencers like Robert Bresson and Michael Hanick, and resists touches – such as the musical result or manipulative Camerovil – others may be used to provoke an emotional response). The neutral view of the director makes it difficult to know what to make from this undocumented immigrant, and it is almost impossible for anyone to guess that he is not a “bad dancer” but rather a ballet dancer talent, unless you get to know the performer.
In real life, Hernandez, born in Guadalajara, has achieved a copy of Fernando’s dream, to become the first Mexican major dancer at the American Ballet Theater. In theory, something similar to Fernando, who finds his way to San Francisco can happen, allows himself to enter the palace of another person. By blocking the main information from the beginning, Franco provides the biases of the masses that affect how to explain his actions: Does someone fear Fernando or one of the potential assets of the United States, are obligated to enter into a dizziness?
It is more complicated than that, of course. The palace belongs to Jennifer, who was surprised that Fernando was asleep naked in her bed. Instead of getting rid of it, sex begins (activity was not simple in Franco’s films, and sometimes violence, but it seems to fulfill both parties). Little by little, we learn about the history of this couple: the case started in Mexico City, where Jennifer was clearly preferred. It maintains a place there and can fly back and forth as it satisfies. Logistics services are more difficult for him, as he was detained and deported in New York years ago.
It seems to have most of the strength in this dynamic, but Fernando surprised her once (by appearing without being announced) and he does this again by going out and trying to create a foothold in the United States without supporting it. When it disappears, Jennifer clicks it on a boundless budget apparently to find it. Part of what makes Chastain very harmful is the way the McCarthy family founds the same resources that it is supposed to use to install this younger man. Jennifer is so good in this routine that she does not even realize the paradox that her selfish has spoiled her charitable efforts. However, as high -level social, it does not dare take the public relationship. This may also be evidence that she knows that she is inappropriate.
While there is an undeniable romantic dimension to “Dreams”-remember that he begins with Fernando’s travel to 2000 miles to reconnect to the woman he loves-Franco can not bother anything bourgeoisie. Instead, the exotic control games in the film and unusual graphic sex scenes are electrical (may shock large crowds), but the sub -text that makes this clear moral drama that focuses on very convincing details: there is a life difference, the wealth gap, the temptation of opportunities in The United States, the constant threat of arrest and the way some Americans are making sexual abroad. But more important than all that Fernando was able to restore by showing his own talent.
Sometimes, dramatic tension is very strong, “dreams” can be almost exciting. This is true in the scene that Jennifer finds, which was desperately looking for Fernando, dancing on a ticket in front of the ballet in San Francisco. Even this point, Jennifer worked hard to hide her relationship with her father (Marshall Bell), she should be repeated now. She tries to keep up with the exercises to get what you want – this is mainly in Mexico, where my father and brother Jake (Robert’s friend) cannot pull the plug – similar to watching the master of chess at work. When the last step comes, you are simultaneously completely unexpected and incredibly harsh. Dramatic, it is also imperative: the surprise that shakes these dreamers to reality.