“Somnium” Dreams Big and (Mostly) Delivers

Somnium (Racheal Cain, 2024) 3 out of 5 stars

Racheal Cain’s debut film, Somnium, opens with a fleeting glimpse of a monster, fleshy, bony, and gray. It abruptly cuts to a candy-colored Los Angeles apartment, and the monster fades into the subconscious. We meet Gemma, an aspiring actress from a small town who gets a job as a night guard at an experimental sleep lab. On her way to work, an LED sign that reads “La La Land” literally hangs over Gemma’s head, and there’s a sense that this nickname takes on a darker meaning in Cain’s hands.

The people in Gemma’s orbit feel out of touch with reality, but unlike the 2016 musical that assumed this particular nickname, Somnium is less a tribute to “the ones who dream” and more a recognition of those who dream in nightmares. But as the monsters that lurk below come to light, the film’s rose-colored sheen struggles against a somewhat simplistic narrative.

What saves the movie is that the overall atmosphere Cain is able to evoke feels just as important as the plot in capturing Gemma’s story. What Cain’s crew is able to do with a meager budget is incredibly impressive. In particular, the thoughtful, vivid production design heightens the mood and makes the film feel more expensive than it likely was. And although the creature design and effects may appear slightly unoriginal, they’re convincing enough to make the ambitious sci-fi-horror elements work.

The perfect casting of the lead, Chloë Levine (The Sacrifice Game), as Gemma, also elevates the entire production. She brings a fresh, genuine personality that allows for her character’s naivety to be seen as a strength rather than a weakness. And in a supporting role, Peter Vack (Messy) is able to do a lot with a little as Gemma’s ex-boyfriend. Although his scenes only play out in brief flashbacks, Vack gives a dynamic performance that grounds their chemistry in a sense of reality.

The screenplay, also penned by Cain, works on a broad scale, but it leaves something to be desired in its details. For example, Gemma’s reaction to potential dangers frequently seems illogical, and a number of ostensibly important moments pass by without consequence. Most of all, however, the underlying metaphor relating to facing one’s fears and desires doesn’t fully land, and the resolution of this slow-burning horror ends up anticlimactic and lifeless. For its scale, however, Somnium is a technically and creatively impressive work. From its detailed design to its endearing performances, it is a true labor of love that dares you to dream of what else the talents behind it could be capable of.

Hannah Tran

Hannah Tran is a filmmaker, writer, and friendly neighborhood barista from Las Vegas. She graduated from the University of Nevada, Las Vegas in Film and English and is currently working on her first feature film. In her spare time, she can be found attending film festivals, running a local book club, and, of course, devouring as many movies as possible.