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Cheng Lai-sheung would kill for an apartment with a waterfront view—seriously. She makes decent money as a telemarketer for a “predatory lender,” but not enough for the flat of her dreams. In a series of flashbacks, we come to understand how the traumatic events of her childhood created this obsessive need for her just-so home. After a great deal of heartache and a bit of cold-blooded sacrifice, Cheng finally has her dream apartment within her reach, only to have the sellers back out at the last minute, intending to hold out for a better office. Of course, there is nothing like a rash of killings in the building to drive down the asking price of units.
Dream’s frequent flashbacks and time-shifts can be quite confusing. However, the centerpiece of the film is a big, gory, extraordinarily messy sequence of killings that should have something to offend everyone. There is voluminous blood, nudity, and people slip-sliding through entrails. However, by genre standards, it is all quite impressively choreographed.
A more ambitious production than its splatter patterns would suggest, Dream is visually striking thanks to the stylish work of cinematographer Yu Lik-wai, a frequent collaborator with Chinese art-house auteur Jia Zhangke. A popular Hong Kong actress, Josie Ho’s portrayal of Cheng’s descent into madness is also chillingly impressive. Indeed, Pang’s patience establishing character and the setting the scene for t
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As a high-end gore-fest, Dream will definitely appeal to a particular die-hard audience. You know who you are. It screens again tonight (4/30) during the Tribeca Film festival.