‘Somnium’ Review – Dreams Are What Boring Protagonists Are Made Of

There’s something sinister about the lure of the big city for small-town people — what it means to get lost in it and leave one’s familiar world behind. The new sci-fi thriller from writer-director Racheal Cain brings a whole futuristic concept to the table. Tapping into our deepest fears of the world that, no matter how advanced we become as nations, we’ll still dread the effect that dreams and nightmares have on our lives. This is the core of Somnium.

The movie starts with Gemma, who moves to LA after a painful breakup. To make ends meet, she agrees to work at an experimental sleep clinic where clients (cocooned in creepy tomb-like sensory deprivation chambers) have dreams fed into their subconsciousness so that they wake up after weeks of therapy, feeling empowered and manifesting the success in their lives. But things take a turn for the worse when she discovers a hidden, morbid part of the clinic, where experimentation on severely mentally ill patients is performed under the enigmatic director’s supervision.

One of the key points where it misses is the casting of the main protagonist. Chloë Levine plays Gemma from a place of exaggerated performance. Her cutesy, innocent, overambitious small-town girl is exhausting to watch. It’s understandable how Cain tries to create that vibe: Naomi Watts in Mulholland Drive, the innocent young actress facing the grim reality of the seedy City of Stars trope. But Levine never takes it beyond the obvious, giddy, overachiever personality she puts on at the beginning. That’s not to say Levine’s acting is mediocre, but her chirpy portrayal of Gemma brings the energy of the film down.

The feature wastes a lot of time on Gemma’s trauma, heartbreak, past, and her ambitions, in the context of the sexier, more disturbing subject of what is happening in the sleep clinic. It’s not obvious where the film struggles: is it the script? Or Levine’s performance, making Gemma’s journey lack interest or allure? The supporting casting, though, is fantastic. Clarissa Thibeaux is fantastic as Olivia, the haughty but ethical receptionist; Will Peltz as Noah, the creepy, veteran coworker with a hidden agenda, is very refreshing, and his acting is fine-tuned to the role, no more or less. They lift the film where Levine staggers to sustain interest in the Gemma parts outside of the sleep clinic hauntings.

On the other hand, the film is a strong companion piece to the Nightmare on Elm Street franchise. It highlights the power of dreams and how the subconscious can be manipulated to influence reality. It also serves as a cautionary tale about AI-driven lives, where people can be easily lured into an ultra existence beyond their current circumstances. Cain intensifies the tension and skillfully builds scenes where the fear occurring at Somnium, the clinic, becomes an overwhelming issue that can’t be ignored.

However, the connection with Gemma’s unremarkable life and her acting ambitions makes it difficult to maintain momentum. The contrast between the excitement at the clinic and Gemma’s quieter journey, unfortunately, deprives the film of a strong, cohesive narrative, making it feel cramped and cluttered with side quests and secondary storylines. It’s unclear what the film aims to be—an indie drama? A sci-fi story about death and what comes after consciousness? Or one girl’s Lynchian dream of fame and failure? Mixing these elements results in a mismatched film that, despite a promising premise, fails to fully realize its intriguing original idea.

Somnium drives its power from its sinister undertones and the bold sci-fi, horror themes. Despite a shaky script and uneven tension building, it’s still an immersive experience.  

Somnium is currently playing in select theaters courtesy of Yellow Veil Pictures. The film will debut on digital platforms on September 9th.