Dreamland

This film turned out to be one of the surprises of the year, offering some rare style from moviemakers I’d not heard of before. Production values, visual design, and performances are first class with strong naturalistic use of dramatic locations, transporting the thinking viewer into some bleak, dust-battered landscapes. First time feature writer Nicolaas Zwart creates an interesting variety of characters to propel this study of a wounded, escaping female bank robber (Marot Robbie) holed up in the barn of a struggling 1930s dustbowl farm – in turn, being assisted by the owner’s downtrodden young step-son (Finn Cole) Co-writer, director and score composer Miles Joris Payrafite works well with Award-winning cinematographer Lyle Vincent, creating a moody atmosphere with eye-popping shots of massive dust storms blanketing barren farmlands. For some, this could be familiar ground, but the cast of above-average performers and strong visual treatment should keep the patient viewer fully engaged. There’s a winning star turn by young Darby Camp, as the son’s adoring young sister. A largely unnecessary scene featuring a seduction in a shower is overlong and somewhat detracts from the general flow of the story, along with too many F-bombs that filter through. As in most movies, there are the odd details that don’t always work, but these are minor compared to many - and with all the modern innovations for sound, some of the post production voice-over narration was a little muffled and hard to hear – otherwise a slick and thoughtfully enjoyable entertainment for older audiences.