Racheal Cain’s debut feature, “Somnium,” is a film with an identity crisis. It’s a sci-fi thriller, a creature feature, a Hollywood drama, and a failed love story all rolled into one, and it’s this ambitious, if cluttered, mix that defines the experience.
The film follows Gemma, a small-town Georgia native played by Chloë Levine (“The Sacrifice Game”), who, after a painful breakup, moves to Los Angeles with hopes of making it big in Hollywood. Of course, as a newcomer, acting jobs are slim, and with rent overdue, it’s time to take what you can get, which lands Gemma with the overnight shift at Somnium – a mysterious, experimental sleep clinic where dreams are made real.
It’s here that the film’s plot splits, and Gemma tries to make it in Hollywood, clearly dealing with self-doubt and perhaps a touch of homesickness, as she repeatedly flashes back to her time at home and the friends and relationships she left behind. On the other hand, strange things begin happening as she works the graveyard shift at Somnium, leading her to uncover some questionable happenings within the sleep clinic’s walls. The two plotlines converge in the film’s climax, with each element contributing to the other’s resolution.
There was a lot I liked about “Somnium,” in particular the performances. Levine is stellar as Gemma, portraying a very believable vulnerability and naivety of the small-town girl who dives headfirst into Hollywood. The supporting cast was equally strong, particularly the performances from Will Peltz (“Unfriended”) and Clarissa Thibeaux (“Runaways”), who play Gemma’s Somnium co-workers, Noah and Olivia, and Johnathon Schaech (“Suitable Flesh”), who plays a mysterious producer who takes a liking to Gemma.
I also loved the visual aspects of this film. Its aesthetic has a weirdly trapped-in-the-’80s or early-’90s vibe, despite being set in modern-day. The lighting and framing, as well as the overall production design, really enhanced the atmosphere of the film, making it creepy without straying too far into horror territory.
Adding to this were the visual effects. For an indie film with a likely lower budget, the creature is well done, and in the final act, when we find ourselves trapped in the mind of Gemma, it feels like a hopped-up version of when Eleven is in her sensory deprivation tank in “Stranger Things.” The lightning flashes, I assume, were meant to resemble brain synapses firing, and the way the film handles what seem to be fading memories of the past is really well done.
Cain also deserves praise for some of the subtleties introduced into the film to portray Gemma’s deteriorating mental state as the film progresses. You don’t realize that’s what it is in the moment, but as we head into the film’s conclusion, you start to pick up on what you were seeing.
But the film is not without its flaws. Most notably in the film’s struggle with its identity. This is being marketed as a sci-fi horror, but it never really makes it into horror territory beyond the creature. There are some scenes toward the end of the film that some could say also fit into the horror realm, but even then, I’d say it only tiptoes along that line. It’s a sci-fi thriller at best, and is probably more a drama with some sci-fi or horror elements sprinkled in.
I also didn’t fully grasp the need for the subplot of Brooks, the producer who takes a liking to Gemma. A significant amount of time is dedicated to this, and we spend most of the film questioning his intentions. When we finally get the truth and he drops some wisdom on Gemma, it doesn’t really add to the plot, as it doesn’t feel like what he says truly connects with the decisions Gemma makes later in the film. Perhaps this was meant to be a red herring of sorts, or maybe it was intended to add to the ‘Hollywood’ element of the film; however, it felt unnecessary, despite Schaech’s strong performance as the character.
Despite its flaws, I enjoyed “Somnium” and would definitely recommend checking it out. Sure, you’re left with some unanswered questions (Who the hell kept opening her apartment door?!), but when all is said and done, I think the conclusion to Gemma’s story, even if you have to take a few interesting detours to get there, is a solid one. For a first feature over a decade in the making, I think “Somnium” shows a lot of promise in Cain as a director. From visuals to performances, her direction creates something beautiful on screen, even if there are some issues with the overall execution of the story itself.
“Somnium” concludes its week-long run at the Laemmle Glendale today. Its next Southern California screening will take place September 12 and 13 at The Frida Cinema in Santa Ana, CA. The film will have a run in New York City starting September 6 at the Roxy Cinema. A list of upcoming screenings can be found on the Yellow Veil Pictures website.
If you can’t catch it in theaters, the film will be made available to stream on major streaming platforms on September 9.
