The most remarkable part of the intriguing and effectively atmospheric sci-fi horror film Come True is the dream sequences, which are absolutely fascinating, enigmatic, hauntingly beautiful, brilliant. They resemble graphics in the best kind of video game, extremely crisp and precise, exquisitely rendered, but imbued with a poetic quality and symmetry, fluid movement and eerily divine choreography. After the appearance of the first dream, I found myself looking forward to each next one, and being riveted to the uncannily elegant images as the camera inexorably moved through them. In a sense they transcend the film itself, and can be taken on their own terms, as a startlingly distinct new interpretation of dreams in animation. The dimly lit, monochromatic dream imagery is bleakly lovely and restrained although breathtakingly impressive.
Within what I initially took to be a symbology of trauma, the viewer slowly, steadily, effortlessly and resistlessly moves towards these strange landscapes inhabited by sinister human-like figures as object after object looms closer and makes its contours known as you pass through a series of cavernous and mountainous spaces, vast unknown spaces, doors, and rooms and rooms. The way that natural and man-made objects are combined is quite interesting, just as dreams tend to intertwine the monumentally magnificent with the trite tokens of your daily life. Utterly gray and gloomy environments are swept with somberly radiant beams of light which illuminate the elements that need to be seen as they come to the fore. It’s quite a shame to watch it in such low quality, but the video above will give you a sense of the foreboding and horrifyingly graceful nature of those beautiful sequences. This is nightmare poetry at a new height. It almost indicates a new visual language for dreaming.