This indie sci-fi thriller film came into my radar some time ago and I liked that the director, Anthony Scott Burns, simultaneously wrote, directed, manned the camera and later edited the film. This is the auteur theory in practice, and a far more art oriented approach in contrast to, for instance, the way Hollywood go about it. However, I do not know whether he did it because he had no funds or was it a conscious choice. It doesn't matter much, as I can see the personal vision and handprints in the film that are only his—and this is something I highly value.

Dreams are confusing, they have always been. Perhaps the most uttered name on the planet when it comes to dreams, is Freud. He saw dreams as a reflection of wishes and in terms of two mental processes. One is responsible for the wishes we see in dream, and the other one distorts it, making it bizarre and often unintelligible. If this reasoning holds water, I really cannot see myself wanting to wish me being chased by monsters. Perhaps, the monsters are not actually monsters, rather some metaphoric problems I'm facing.
Of course, most of what Freud had to say aren't officially recognized by modern psychologists, his influence on the whole thing remains intact.

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Anthony Scott Burns's Come True deals with the dream world, but he doesn't keep it separate and confined in the dreams. Sarah, a runaway teenage girl have sleeping troubles. Everytime she shuts her eyes, in her dreams she sees a shadowy figure with glowing eyes. Same figure every night. She sees an advertise on a board—some scientists are conducting experiments on people with sleeping problems. They'll pay money for the subjects to sleep. Sarah enrolls, but soon the experiments lure out something she didn't sign in for. The scientists have devised a way to see what a person dreams and form images based on brain waves. And with the help of the images they are on a verge of a breakthrough of a shocking discovery—the dreamworld is connected, one unified reality every human experiences. A giant map that leads to the same conclusion. And that reality is supposed to be primal, innate and horrifying. Freudian idea breaks apart, no one can wish for such a conclusion!

The filmmaker's created visual world compliments that horror. The cold visual tone, the hide and seek in the narrative, keeping up an air of mystery of potential doom and elemental ambient background music the entire time — all work to sell the nightmare he wants to create. I'd say, he mostly succeeded. Like I do in case of all recent films, I started without any expectation, hoping to be disappointed. But I was absorbed, watching to see more of it, willingly. Julia Sarah Stone played the protagonist role Sarah and she did a marvellous job. Looks like she's been acting since her childhood, albeit I have seen none of them. I can only say, she'll do good in her future ventures.

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Come True has been a good watch for me. It actually pumped me up, but all of a sudden, it disappointed me a bit at the ending. There was no need for a formulaic climax, the film was already good. It merely sabotaged itself trying to be clever. Films are not about being clever, like all arts, they are about expressions of the artists. New filmmakers should hammer it into their heads. Also Burns could go easy on the music as well.

But if you're a potential audience, you should know, the film has received acclaims mostly.

Here's the trailer if you want to see it. — https://www.youtube.com/watch?v=Hh3s-Fq-3Hs

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