In cinema, it’s not always enough to have a compelling story to tell. How that compelling story is packaged and presented can make or break how effectively it comes across to the film’s audience. Dreamer, the feature writing and directorial debut for Mohit Ramchandani, finds the right presentation style for this story with a bold approach to its filmmaking. Featuring creative cinematography and an unflinching commitment to gripping storytelling, Dreamer is a daring film that wakes audiences up to the invisible crisis of sweatshop slavery.

The film follows Jesus (Ari Lopez), a young Mexican boy who has big dreams of being a soccer star. Following the death of his mother, he is promised an opportunity to chase his dreams at a training camp in California. But in reality, he has been sold, smuggled across the border, and put to work in an underground sweatshop making cheap fashion that will eventually make its way to street vendors and flea markets. Realizing the dangerous situation he’s in, Jesus does what he needs to in order to not lose hope and to survive. 

The first thing there is to notice as Dreamer begins is the risks the film takes with cinematography. The film opens on a long take, where the camera starts close in on a boy calling the play by play of a soccer match between other young kids, glides around the playing field, then closes in on our protagonist in a continuous unbroken shot. This single take continues on as the makeshift field morphs around Jesus into his imagination of a massive arena and he plays out his major league fantasy. One-take style sequences are a powerful asset for the viewing experience of Dreamer. The film in its entirety is not a one-take style film, but the technique is used many times to great effect, whether in smooth gliding shots like in this rousing opening sequence, or with a shaky handheld effect in the more tense sequences.

Additionally with the cinematography, Dreamer often opts into utilizing first person perspectives, particularly in conversations. It’s another bold choice for how this film is presented, taking moments to literally put the audience in the perspective of the subjects. But it’s a choice that pays off, particularly in conjunction with extended takes, that keeps the film visually engaging.

As one who admires when one-takes and first person filming are utilized effectively in film, the way Dreamer is filmed is the type of packaging for this story that greatly appealed to me as a viewer. But what that packaging contains is ultimately a tense and heartrending narrative that’s worthy of the big-screen. Both the cinematography by Alejandro Chávez and the score, masterfully composed by Lisa Gerrard (Ali, Whale Rider), elevate the tension and entertainment value in suspenseful sequences, especially in instances where Jesus makes his efforts to escape. 

As entertaining as portions of this film might be however, Dreamer is not for the faint of heart. With these glimmers of hope that Jesus clings to - the dream he has of being a soccer player, the relationship he develops with a female worker, and the plans he makes to escape - there is a deeply distressing side of the tale as well. Punishment in this environment is relentless, and Dreamer does not shy away from gruesome sequences of extreme abuse. Perhaps off putting to some, the choice to be explicit in the violence that ensues drives home the desperation of the situation Jesus and his fellow workers find themselves in.

It’s worth noting that the film was originally named Bonded before a last minute decision saw the title changed to Dreamer just ahead of its world premiere at Mammoth Film Festival, aiming to capture the more uplifting side of the film. I mention this because this is a film that indeed treads both paths, depicting the horrors of being enslaved and abused while upholding a sense of optimism and hope throughout the story. Choosing to highlight this hopeful aspect of the film with the title Dreamer was a wise choice for a project that is sure to have audiences thinking more critically about the situations of people brought to this country under extenuating circumstances.

Dreamer certainly has the storytelling prowess to captivate an audience, effectively make its point, and remain entertaining from start to finish. And with names like Yalitza Aparicio (Roma) as Executive Producer, Lisa Gerrard composing the score, or Diego Calva (Babylon) in the cast (regardless of how minor his role may be) among others, talent is present to pique the interest of filmgoers. Whatever the factor is that captures one’s attention about this film, I am inclined to advise them to give it a watch. Dreamer is not just a compelling story. It’s a compelling presentation that I won’t soon forget.

Acting/Casting - 1 | Visual Effects and Editing - 2 | Story and Message - 2 | Entertainment Value - 2 | Music Score and Soundtrack - 2 | Reviewer’s Preference - 2 | What does this mean?