Come True

Come True combines the wonderful (nightmarish) dream topic with something very special: sleep paralysis and shadowy beings. And here lies the crux, because films like The Shadow Man have impressively proven how incredibly boring the threat posed by these shadowy creatures can be. And so in Come True, as antagonists, they are unable to do anything other than slowly shuffle towards beds, stop and stare. The threat potential is therefore kept within narrow limits and the film runs into one of many dead ends.

The story of the young, nightmare-plagued Sarah (Julia Sarah Stone, The Killing ), who ran away from home and spent the already oppressive nights with friends or in the playground, is quite appealing. Come true Fortunately, it also allows us to get to know the protagonist better without revealing the family relationships or her past, both of which remain in the dark. Rather, we follow the everyday life of the high school student almost like a sleepwalker: from the completely overtired school hours to nightly escapades and the search for a place to sleep to her nightmares. The film is strongest in this exposure and thrives on an engaging, melancholic-somnambulistic atmosphere, an absolutely enchanting score and the beguiling, gloomy and extremely aesthetic imagery that Come True finds for its dream scenes.