Sweet Dreams – first-look review | Little White Lies

Festivals

Sweet Dreams – first-look review

05 Aug 2023

Words by Marina Ashioti

A woman in a white coat stands in a dimly lit room, with others behind her wearing similar clothing.
A woman in a white coat stands in a dimly lit room, with others behind her wearing similar clothing.
Ena Sendi­jare­vić hits the sweet spot with this off­beat, sur­re­al peri­od piece set on a remote Indone­sian island.

Ena Sendijarević’s pen­chant for the idio­syn­crat­ic and absurd con­tin­ues with her sec­ond fea­ture, a thor­ough­ly enjoy­able peri­od piece that deals with com­plex colo­nial dynam­ics with­out ever suc­cumb­ing to over­sim­pli­fi­ca­tion. Fol­low­ing her high­ly stylised and sim­i­lar­ly off­beat fea­ture debut, Take Me Some­where Nice, the Bosn­ian-Dutch direc­tor now trains her eye on a remote Indone­sian island in 1900 and the wan­ing influ­ence of the Dutch colo­nial régime.

The sub­ject here con­cerns a com­pos­ite of var­i­ous peo­ple, rather than any par­tic­u­lar his­tor­i­cal fig­ures. Dutch plan­ta­tion and fac­to­ry own­ers Jan (Hans Dagelet) and Agathe sit com­fort­ably at the top of the food chain, and despite the fact that the native work­ers have been strik­ing for over a year, the pair enjoy a lav­ish lifestyle in a bawdy colo­nial home that sticks out like a sore thumb amidst the island’s lus­cious nature. 

We take it that their aloof house­keep­er Siti (Hay­ati Azis), a com­plex, mys­te­ri­ous char­ac­ter through which the work’s more poignant sym­bol­ism is expressed, has been habit­u­al­ly sub­ject­ed to the Dutch patriarch’s urges, as it’s a secret to no one in the vicin­i­ty that Jan is the father to her young son, Karel.

When Jan returns to his and Agathe’s bed­room after his night­ly vis­it to Siti and shows obvi­ous signs of strug­gling to breathe, Agathe takes the mat­ter into her own hands and… does absolute­ly noth­ing about it. The day fol­low­ing her husband’s death, she writes to her son Cor­nelis (Flo­ri­an Myjer) to give him some good news (“your father has died”) and some bad news (“you need to come quick­ly or the sug­ar fac­to­ry will have to close”), and to threat­en him by with­hold­ing his allowance if he does not make haste.

Cor­nelis and his very heav­i­ly preg­nant wife Jose­fien (Lisa Zweer­man) then embark on the long jour­ney. When it’s revealed that Jan’s will names an unex­pect­ed heir to his estate, a dement­ed game of cat and mouse ensues, height­ened by an effec­tive use of clas­si­cal music and grandiose string arrange­ments that make the colonists’ schemes seem all the more farcical.

Cin­e­matog­ra­ph­er Emo Weemhoff along with pro­duc­tion design­er Myrte Belt­man, who also col­lab­o­rat­ed with Sendi­jare­vić on her fea­ture debut, cre­ate a gor­geous mood dom­i­nat­ed by vibrant and mut­ed colours alike. Deep browns and burnt ochres are illu­mi­nat­ed by lamp­light in the work­ers’ quar­ters and the fac­to­ry, while jar­ring shades of red and emer­ald adorn the inte­ri­ors of the colo­nial home. This is a self-con­tained micro­cosm replete with great atten­tion to detail.

Sweet Dreams is gor­geous­ly shot, mas­ter­ful­ly com­posed and tight­ly framed with­in an Acad­e­my aspect ratio, its stylised sto­ry­telling nev­er ceas­ing to cap­ti­vate. Com­par­isons to films like The Favourite and last year’s Cor­sage are inevitable – these films have a great deal in com­mon and sit neat­ly in the pan­theon of great off­beat peri­od pieces.

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