Berlinale Review: Michel Franco's Dreams Explores the Perilous Waltz of Love Across Borders

      Certain images have become inherently metonymic, capturing contemporary political issues with minimal context required. This concept is illustrated in Michel Franco’s latest film, Dreams, which opens with a scene of a large truck left abandoned beside a railway, symbolizing illegal border crossings. The truck rattles and vibrates with the cries of individuals trapped inside, pleading for assistance; the audience can almost sense the desperate situation awaiting them when authorities force open the back door. Amidst the turmoil, one of the “illegals” manages to flee: a relatively young, muscular man (Isaác Hernández) whose resolve is evident in each step he takes along the barren road. While his identity remains unknown to us, he seems certain of his destination, embodying a fierceness that overshadows the pain he clearly endures.

      After hitchhiking to San Francisco, he breaks into the opulent home of Jennifer McCarthy (Jessica Chastain), who discovers him nude in her bed the following morning. Her silence reveals an acknowledgment that he is no mere stranger, and within moments of waking, Fernando finds himself atop her, filled with the fervor of a long-absent lover. “I want to take care of you,” Jennifer whispers, unveiling a love story that transcends borders and social classes. Before the audience can fully grasp their relationship's timeline, Dreams delves deeper into the couple’s backstory through scenes rich with intimacy. Collaborators of Franco, cinematographer Yves Cape and editor Óscar Figueroa, employ their signature intense visual style—previously associated with violent scenes—to craft sexual moments from static long takes and sharp cuts. However, the outcome never feels harsh; instead, the chemistry between Chastain and Hernández (and their assertive characters) imbues these scenes with an insatiable desire.

      Yet, the realities of life pose challenges to love. Jennifer is the child of wealthy benefactor Michael McCarthy (Marshall Bell), and the family's wealth wields significant power, while Fernando, despite being a gifted ballet dancer, will forever be viewed as a paperless Mexican immigrant by this family. This scenario presents a case of impossible love—one of the most compelling dramatic themes—filled with pride yet constrained by class bias. Franco, as a writer, has often shied away from placing his characters in morally ambiguous situations, but this may be his most profound exploration of complex power dynamics to date.

      Dreams employs a concise storytelling style—linear with ellipses and a striking flashback/daydream sequence that disrupts expected realism—serving not just the plot but emphasizing the delicate balance of dominance and submission between Jennifer and Fernando; they navigate a perilous emotional, sexual, and financial dance. Isaac Hernández, making his feature-film debut (as a Principal Dancer at the American Ballet Theatre), offers a remarkable performance, blending levity with emotional depth. He channels Fernando’s stubbornness into magnetism and charm, perfectly complemented by Chastain, who gradually sheds her composure. Her portrayal of Jennifer reveals a genuine lover grappling with the safety she clings to while constantly at odds with her desires. It’s tempting to desire everything when it’s within reach, yet the American actress invests great effort (emotionally and physically) to breathe life into a character who might otherwise be seen as spoiled. The two powerful performances at the core of Dreams are so impactful that they suggest a love story like theirs could even transcend the expected brutality found in every Michel Franco film.

      Prior to the premiere of Memory in the main competition at the Venice Film Festival in 2023, audiences thought they had a clear understanding of Franco’s style. Since his 2009 debut with Daniel and Ana, the Mexican director has been exploring the complexities of human relationships on screen, particularly focusing on familial dynamics that strain and fracture under pressure; in his cinematic worlds, no one emerges unscathed. However, Memory marked a notable departure: it was Franco's first collaboration with Chastain and also offered a glimmer of hope at the conclusion of a Franco film. With Memory and now its successor, it appears the filmmaker is allowing more room for love, perhaps even redemption. If Memory was profoundly romantic, Dreams ignites that romance into an inferno, with its flames burning brighter than ever.

      Dreams made its premiere at the 2025 Berlinale in Competition.