Written for RAF News June 2019
A young nebbish introvert struggles socially until a neighbour introduces him to lucid dreaming, allowing him the possibility of realising his fantasies.
Zel (Laurie Calvert) is a car-park attendant for a burlesque-style club with an apparent reputation and a clientele of wealthy hedonists, judging by the drivers who come by his window. Constantly reminded of his status, and mocked by his thuggish boss Theo (Cristian Solimeno), Zel’s desire to ask out one of the clubs dancers and to stand up to Theo is just a dream. This is until a washed-up psychologist (Billy Zane) teaches him that he could take control of his dreams and use them to build real-world confidence.
Lucid dreaming is a real phenomenon that is used for such purposes (the ‘lucid nightmare’ being the subject of Vanilla Sky and Nightmare on Elm Street) which makes the concept a solid basis for a film. Shot on a modest budget, Lucid works within its means and manages to turn it into a strength. Astonishingly, it is worth noting that first time writer and director Adam Morse has achieved this despite being registered blind for the past decade.
Having a cripplingly timid main character, that is not always sympathetic, is challenging but Calvert plays it realistically. The main hurdle in believability is the relationship between Zel and frizzy cravat wearer Elliot, but Zane’s calm confidence fills this void or distracts at the very least, able to provide some comedy alongside the catalyst for change.
As perfectly deconstructed in Nolan’s logic-twisting action-epic Inception, dream logic dovetails naturally with cinema: scenes can jump to different locations, or begin in the middle, and it will seem completely ordinary. In Lucid everything is neatly laid out, with set-ups and pay-offs, and without getting complex, which is a huge achievement considering the subject.
There’s a strange elegance in it’s simplicity – when it feels as though its about to nosedive into fantasy, it pulls back and lands something much more relatable.