The title Below Dreams is appropriate and at the same time misleading. Good drama often has these qualities, and at its best is not simple. Garrett Bradley’s first feature film is all of these things, and more, with a journey and visual style that keeps your eyes and attention span totally engaged.
The narrative follows three very different young millennial characters newly arrived or returning to new Orleans: Elliott, a New York City native in search of who he believes is his one true love, single mother of four and inspiring model Leann, and unemployed but tenacious Jamaine. Their searches are as distinct as their personalities, and while you may connect with one of the characters more than another, you will feel for all of them as they fight to fulfill their dreams. That said, while Jamaine’s dream of long-term employment is the least exciting, perhaps because of his stronger connection to the New Orleans – a character of its own while not overtaking the film – I often found myself rooting for him more despite his sacrifice for success being the weakest. Yet Elliott and Leann’s improvisatory-leaning performances remain heartfelt and well performed, especially Elliot.
While the verité documentary style Bradley shot Below Dreams in is not uncommon practice, what is uncommon is that with a similar feel to one of the style’s masters, Lionel Rogosin (Come Back, Africa – 1960), she has with this film come very close to mastering the fiction/non-fiction technique. This is no easy feat for the young director who was raised in New York by two painters.
Also the sonic aspects of this film are as entrancing as the strong visuals (and editing).
Still one of the more interesting aspects of Below Dreams, whether intentional or not, is the choice of city on which the characters all descend. New Orleans has the popular nickname “The Crescent City,” with a symbol of two “horns” (the points at the intersection of the two arcs) going in opposite directions. Historically, the direction the “horns” face indicates whether the crescent (think like the crescent moon) is waxing (indicating it is young, or increasing) or waning (indicating old, or decreasing). These conflicting attributes define the three characters, and Bradley’s narrative of American millennials whose dreams may not be as possible as normally advertised, to a tee. These millennials often live ‘below reality’ but their spirits remain captivating.
Below Dreams will make its theatrical debut via distributor 108 Media on Friday April 10th in Los Angeles at the Downtown Independent and the following week April 17th at Cinema Village in New York; on April 21st it will be available on VOD via iTunes, Amazon Instant Video, Google Play, and VUDU.
