Sweet Dreams (II) (2023) User Reviews

Visually beautiful and very well acted, but still slightly disappointing

[johannes2000-1 · 7/10 · 7 October 2023]

I looked forward to seeing this movie, but went home slightly disappointed. Sure, it's cinematographically outstanding, with beautiful images, luscious coloring and inventive camera-angles. The acting in all major parts is excellent and the music score is haunting, adding to the ominous atmosphere.

Unfortunately the project went awry with the script. There is a narrative line, but it's consequently cut into short, almost anecdotical episodes, that mostly lack a logical bridge from one to the next one. The behavior of the different characters is often unfathomable and erratic, without realistic consequences.

As said, the acting is overall excellent, with an outstanding René Soutendijk as the aristocratic and outwardly stoic mother, who in fact is terrified when she sees her existence threatened by the opportunistic schemes of her son and his wife. Florian Myjer is totally convincing as the exasperated son, and Lisa Zweerman as his dominant wife. And Hayati Azis is a revelation, playing in an understated but almost imperious way the taciturn, intelligent and calculating servant Siti.

A last minor criticism: while the score is - as already said - beautiful (mostly a bleak, unnerving string quartet), I kept wondering why there was throughout the whole movie not even one hint of the traditional Indonesian music, not even during the last dance of Siti, where it would have been so appropriate. This must have been a deliberate choice, but one that I personally find hard to understand.

One small step for film, one giant leap for Dutch cinema

[DeanAmythe · 5/10 · 22 November 2023]

Though I realize how low the bar is set, the prospect of seeing a Dutch film helmed by a promising director that plays outside the realm of atrocious romcoms made for 40+ year olds is an exciting but frustratingly rare one. Even rarer is when that film doesn't end up a derivative mess of obvious inspirations and even imitations, and that, I'm afraid, Sweet Dreams doesn't quite manage to dodge. What will be apparent from the word go is the 'artsy' compositions, that is, exact blocking in 4:3, mostly static frames where subjects are usually either linear or perpendicular to the camera - in short, pseudo-Wes Anderson. It's a sign of what I figured was going to happen sooner or later, upcoming directors who were clearly touched by modern arthouse productions kind of regurgitating the same visual ideas. This isn't necessarily a bad thing, the decisive factor is moreso if what these ideas are applied onto actually gel with them. Wes Anderson's idiosyncratic approach to his camerawork complements the overall theatrical nature of his films; here, this only serves to make the whole thing feel, as I said earlier, 'artsy' (a word that I've grown to severely dislike, but I struggle to find the right replacement), but in a way where it makes the whole thing feel slightly off, like in a dream - which you could point out conforms to the title, however, I don't think I buy into its intentionality, especially consider how the ending does delve into the abstract and symbolic, embracing its own peculiarity (though, sadly, it was too little too late for me). I do want to emphasize that the film does, in fact, look nice, arguably defeating the whole point of me rambling on about that particular aspect. Preferably though, I like to see a director not just stick to what has proven to work, but expand on their own visual 'library', if that makes sense.

In the narrative department, Sweet Dreams proves to be more intriguing. It explores one of the darkest pages in Dutch history: our colonization in Indonesia. It regularly pokes fun at the white oppressors, in this case the capitalists at the top of a sugar plantation who exploit the natives. One of the victims of this is concubine Siti, who is practically the main character of this tale. She occupies a similar position as Samuel L. Jackson in Django Unchained, trying to get some benefit out of her rulers. In doing this, though, it contributes to an already lacking sense of true oppression. Not asking for 12 Years A Slave here (which wouldn't work with the subdued nature of the presentation), but outside of a few scenes, this fails to truly interrogate the abuses.

-Spoilers below-

For instance, there is a near explicit mention of the White Man's Burden, yet no further development of it, even though the story lends itself perfectly to not only showing the absurdity, but the hypocrisy of that idea - 'saving' and 'educating' suppposedly savage natives by completely removing and ignoring any sense of their human rights. Cornelis nearly commits infanticide to be able to claim an inheritance, after which he retracts the plan, stating it's "not civilized". Even though his wife then disagrees with him, that angle is lost.

There are more such of examples of the story being ripe for such observations yet those fruits never being reaped, but what I'm more concerned with is how much Siti is underscored. As I said, she plays in a morally grey area, one which could provide interesting perspectives, but she is the only proper native character. Raza is another, but he is merely there to challenge Siti and thus hardly serves any function on his own. Ultimately, the Indonesians barely get a voice in this. It's all about the troubles of the white folks on top and a single concubine that managed to earn some relatively decent spot in the hierarchy. It is true that the Dutch had a type of feudal system in place, where some natives were appointed to rule, but that is not what is discussed here. In that regard, this is similar to Killers of the Flower Moon, where I also wished for more insight into the oppressed group, but luckily that was not as absent as it was here.

In any case, this stands head and shoulders above the gross of Dutch film productions, having an actual voice behind it and being one of the few to actually be succesful in its comedic efforts. However, like 2020's The Forgotten Battle I feel this wouldn't be praised as much as it is if it wasn't judged on that relative basis. Not that there aren't plenty of things like and/or appreciate, but I'm going to need a bit more convincing before I can consider this sorry industry to be on the path to salvation.

Witty, stylish, and darkly humorous genre twister

[Blue-Grotto · 9/10 · 15 October 2023]

When the Dutch boss of an Indonesian sugar cane plantation suddenly dies 150 years ago, his progeny travel from Holland to take over the enterprise. Upon their arrival a secret is revealed that upends the lives of everyone who lives there. Normal rules don't apply anymore and the place descends into chaos.

Everyone has a screw loose In this darkly humorous genre twister. It is quirky, irreverent, erotic, playful, and absolutely puts no one on a pedestal. The film crew spent five months in Indonesia and recorded some amazing shots of green mountain wilderness and waterfalls. The film is witty, stylish, and imaginative. It takes advantage of the natural light and adds some intriguing artistic touches to how the film flows. I loved that the characters were complex, not black and white, and did unexpected things.

"I wanted to learn more about the dark side of Dutch colonial history," said director Ena Sendijarevic who was present at this North American premier screening at the Toronto International Film Festival. "We didn't learn this at home or in school." Sendijarevic was influenced to go to Indonesia by Henri Rousseau. "Even though he never went there m, he painted the jungle."

"You don't have to be somewhere to be from there."

In a similar manner Sweet Dreams took me into the Indonesian sugar cane fields and wilderness frontier from 150 years ago.

As vast as an ocean, as deep as a puddle.

[valsob-63597 · 3/10 · 15 September 2023]

Phenomenal actors, amazing cinematography and visuals, and a gripping atmosphere that unfortunately has absolutely no payoff.

This movie has so many red herrings, with characterizations and conflicts being proposed, and spine tingling anticipation which goes NOWHERE. Unfortunately the ending (and third act in general) did not even try to deliver anything close to coherent.

I do not know the point of this movie, there is no message with themes that were tossed away. They buildup many things, but the script seems to have lost it. Decisions the characters made were without consequence, and unfortunately it was just boring near the end.

The most infuriating part of this movie is that the first half is very engaging. But it is engaging because of the questions and suspense the film builds. But if the questions are abandoned, with many many chekhof's guns that were melted away, and suspense that washes away like a cold splash in the face.

Disappointed.

Not a puddle, but a deep swamp

[slootje12 · 8/10 · 25 September 2023]

If this is the direction of Dutch movies, then there is hope. Sweet Dreams (Zoete Dromen) is a very well made movie with good acting, directing, script, cinematography and music. Just everything. Compliments for Ena Sendijaric and her cast and crew.

This is a colonial dramady about the Dutch East Indies at the beginning of the 20th century. Famous books like Stille Kracht en Max Havelaar and the recent movie The East (de Oost) have the same topic. It is good and necessary to know that this colonial period has to be considered as a black page in Dutch history. Sweet Dreams depicts the horrible situation in a original way, from female perspective and with black humor. From start to end this feels painful, embarrassing and cruel.

We have to giggle a little bit about the Dutch landlady Agathe, her son Cornelis and daughter in law Lisa. They make themselves totally ridicoulos in a dangerous way. The situation of the servant Siti and the local people is sad and hopeless. Especially for Siti. She is torn between her bastard son from the landlord and her own people that reject her and laugh at her. This situation is hopeless for everybody and can only end desastrously.

Renee Soutendijk truly deserved her award at the Lucarno film festival. Her carreer spans 45 years now. But also Hayati Azis, Lisa Zweerman, Muhammad Khan, Florian Myjer and Peter Faber are really convincing in this movie. Sweet Dreams isn't a puddle but a deep swamp.

Sweet Dreams is a fitting title - for a snore

[paul-89192 · 3/10 · 10 October 2023]

Gouden Kalveren, Oscar-nomination; this movie had to be something. Apparently I'm rather spoiled, because I found the movie boring, unbelievable, shallow and shockingly badly played. Renée Zoutendijk - a renowned actress - had nothing more to offer than a pastiche of a mental patient, while her 'son' did the same as a spoiled brat with a chip on his shoulder. And I could go on and on. Interaction between the characters was sometimes infantile. And the camerawork? Indonesia is an incredible beautiful country and even the opportunity of surprising us with a mesmerizing landscape was halfhearted to say the least. The only suspense was when the overly pregnant woman finally woud give birth. It starting promising, but it ended with very heavy eyelids.