Dreams critiques privilege effectively, but it does so from a position that never quite identifies with—or fully explains—the social ecosystem it stages, suggesting that this sphere of wealth is less Jennifer’s (Jessica Chastain) lived world than an apparatus she wields. Isaac Hernández is especially compelling—his physical credibility as a dancer and his Spanish-speaking presence ground Fernando’s vulnerability without reducing him to innocence. The result is a film that is less interested in romance than in domination: an unsparing portrait of how privilege can convert desire into ownership, and how the language of love can become one more instrument for denying another person’s individuality and becomes our ideally object of desire and satisfaction.