Fever Dream

Simply, it's just another worthless junk from Saudi Arabia. Why are they still keep making these trashy movies???

It's just a waste of time and money.

If I can be the decision maker, I would have issued a high penalty for all the people who helped making these movies because they're destroying the reputation of Saudi Arabia and also proving that they don't have knowledge or taste for art.

I encourage them to stick to tik tok and social media and also to stay local insted of causing global scandal.

Also, we want to ask Netflix about the season for supporting trashy moves and TV shows which are worthless.

> "Dreams of the Age" is an ambitious Saudi film that attempts to blend local authenticity with a modern cinematic voice. It presents a visually rich experience grounded in the culture of old Jeddah, offering a fresh yet imperfect perspective.

The film's strongest asset is its lead performance, which stands out with both charm and emotional depth. The direction shines through a polished visual style, effectively capturing the spirit of place and community. There's a clear attempt to address social themes in a contemporary context, and that effort deserves recognition.

However, the film struggles with uneven pacing and underdeveloped side characters. Several scenes feel unnecessarily prolonged, and the story lacks a strong narrative escalation. The language mixing between Arabic and English, while perhaps realistic, may feel excessive and distracting for some viewers.

Despite these issues, "Dreams of the Age" remains a bold and heartfelt film. It reflects the growing ambition of Saudi cinema and marks a creative step forward for its directors.

> Final Verdict: A culturally vibrant film with a compelling lead and elegant visuals, though weakened by its narrative looseness.

"Fever Dream" (2024), the Saudi Arabian cinematic offering, delivers a gripping narrative that explores the complexities of human relationships against the backdrop of a mesmerizing desert landscape. Directed with artful precision, the film immerses viewers in a world where tradition clashes with modernity, and where the line between dream and reality blurs. The performances are captivating, drawing audiences into the emotional turmoil of the characters as they navigate love, loss, and redemption. The cinematography beautifully captures the stark beauty of the Saudi terrain, adding another layer of depth to the storytelling. While the pacing may feel deliberate at times, it ultimately serves to deepen the film's impact, allowing viewers to fully absorb its thematic richness. "Fever Dream" is a triumph of Saudi cinema, showcasing the talent and creativity of its filmmakers on the global stage.

"Ahlam Al-Asr" (Afternoon Dreams) is a decent attempt to connect with the young Saudi audience, and I don't think it deserves more than a 4/10 rating, but it stumbles over two confusing mistakes (while noting some positives).

First, the film suffers from a clear identity crisis: rated +18, it was supposed to deliver mature or provocative content for an older audience, yet it feels closer to a work aimed at kids aged 8-16. It tackles topics that are uncommon and contrary to the conservative moral tone in the local Saudi context, but presents them superficially, making you wonder if the film really understands what it's trying to say. Had some of these elements been dropped to lower the rating, it might have gained wider acceptance and appeared more logical.

Second, the film delves into a shallow narrative with a teen, lightly feminist perspective, making it targeted at a very narrow audience - one seemingly more attracted to trendy ideologies than to a coherent story. To be fair, the comedic sarcasm on the silliness of social media celebrities did provide some genuinely funny moments, but relying on that same idea for over three hours and fifteen minutes? It's hard to believe anyone thought this was enough to make a solid film.

The screenplay and plot do not support such a long runtime; the writer started with a good satirical idea in the first 50 minutes but then lost control and left agendas and surreal exaggerations to drive the film to the end. However, one point counts in the film's favor: the wonderful animation scenes, which I did not expect to see in a Saudi film. I strongly support the use of similar iconic tricks, as they fit very well with companies like Telfaz 11.

Perhaps the title "Ahlam Al-Asr" spontaneously hints at the chaos dominating the film's events... but if this is what Saudi cinema aspires to as a "good film," reality indicates it is still far from delivering a mature work with a global character, even locally. The Saudi audience is indeed hungry for films, but mediocre works no longer satisfy them.

It is better for now to slow down and focus on simpler, smarter stories, with more mature dramatic writing and tighter dialogues - instead of bloated comedies filled with unstable ideas.

Review of " Fever Dream"

Directed by the Quddus brothers, Fares and Sohaib, this film is one of the best works in Saudi and even Arab cinema. The balance between comedy and social drama was carefully calculated, and the directing was full of smart details-from scene construction to actor guidance.

However, the obvious issue was the excessive use of English in the dialogues. I understand that some words are better said in English sometimes, but here the usage was too much to the point it pulls you out of the film's atmosphere and makes you feel like the characters speak a language different from their environment.

The same messages could have been delivered naturally in colloquial Arabic, especially since the target audience is mostly local and Gulf viewers. The heavy English use made many viewers feel a linguistic alienation within the film itself.

One detail that bothered me was the depiction of alcohol in a water bottle, which was strange and illogical. If it had been shown in a beer bottle, it would have been easier for the audience to understand.

The acting was great, especially Najm in her first cinematic appearance, delivering a clear character with confidence and no affectation. Sohaib Quddus also gave a steady and balanced performance, especially in emotional scenes.

The directing featured complex shots and strong visual dialogue. The Quddus brothers' signature is clear, especially in portraying modern life in Jeddah and how the city transforms into a backdrop for each character's internal struggle. The lighting and decor were harmonious, and they succeeded in integrating social media into the story without it feeling forced.

The story reflects our era, addressing themes of fatherhood, superficial success, and the search for self in the digital age, cleverly without direct preaching.

The soundtrack was well done, enhancing the mood without overwhelming, especially in quiet scenes filled with internal tension.

But returning to the language issue, it did affect my experience as a viewer. Sometimes the dialogues seemed written for an external audience more than a local one, which contradicts the film's realistic nature.

Overall, Dreams of the Era is a mature and different cinematic experience, representing a real leap in Saudi cinema. If it had resolved the language issue and adjusted some odd details like the alcohol-in-a-water-bottle scene, it could have been one of the best Arab films of the decade. Despite this, it remains a work worth watching and proves the new generation of Saudi filmmakers can compete globally without losing their identity.

My final rating.8.