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Thats quite an achievement for a film whose premise isnt particularly novel.
We all know dreams can be scary; everything fromA Nightmare on Elm StreettoThe Prince of DarknesstoPaperhousetaught us that.
ButCome Trueembraces this chilling idea: Dreams are scary because we still dont entirely know what they are.
Start with the protagonist.
Sarah has bad dreams, when she can even manage to sleep.
Hers is an anxious, half-awake reality, neither here nor there, always ready to slip into darkness.
Amid this oppressive gloom, Stones sallow, hangdog visage suggests someone wasting away before our very eyes.
So what if it involves a bunch of strangers asking prying questions and plugging cables to her head?
It doesnt last long.
), into gates made of hands (or are they bodies?
), onto darkened fields of fallen statues (or are they frozen corpses?).
The imagery is foggy, forbidding, and eerily uncertain.
The scientists are fascinated by this figure.
Is it a shared fear, a lurking, ancient threat from humanitys before times?
The film doesnt provide many answers, but its all just suggestive enough to send our minds racing.
That sounds like an abstract notion, but Burns brings emotional weight to it.
He captures something elemental, a vague but familiar terror scratching at the edge of our consciousness.
Those looking for answers may be disappointed by it; if anything, it only provokes more questions.
