In A Dream is firstly an artist documentary, and so it's only appropriate that the film is brimming with rich visuals and establishing shots of buildings encrusted with said artist's work. But though the art is at the forefront of the film, the director himself seems to be more concerned with (and more invested in) the love story that forms the film's trajectory: that between the artist Isaiah Zagar and his longtime wife, Julia.
Though choosing to work in the rather limited and rigid format of the documentary, Jeremiah Zagar manages to put his own unique flair on even the most mundane of devices, meticulously manipulating the format to express his specific point of view, and summons up a story that is just as compelling and engaging as any fictional narrative. This film isn't just a montage of taped interviews. It's not a series of episodic moments of quirkiness and accidental insight that Zagar arbitrarily strung together, hoping that they would speak for themselves. There's no deluded, unwarranted grandiosity to it, no self-importance, no faux-tortured-genius agenda in sight; the film isn't claiming to be anything great; it just is.
In A Dream focuses primarily on the overall life of Philadelphia-based artist Isaiah Zagar, who sustains himself by purchasing buildings with his wife and encrusting them with elaborately majestic mosaics. But again, it is more about the complicated, passionate relationship he has with his wife. Their love is esoteric, specific only to them. Back-to-back interviews are peppered with genuinely sweet revelations about the couple's relationship: Julia laments, "I was his reality base, and he was my bird. He flew around." as Isaiah resolutely states, "If you think that couples live in peace and harmony their whole lives and they're really going someplace, they are space travelers, no. They're already quietly murdered. Julia and I are space travelers." Yeah, I don't get it either, but it sounds nice, doesn't it? That's the thing; the lovers in question complement each other perfectly in disposition as well as expression. Isaiah is all grand metaphors and poignant emotional confessions while Julia is down to earth, caring, straightforward but not without sentiment. Together, they make sense. That is, at least, what Jeremiah Zagar, the director of the film, seems to believe. Did I mention that he's also the couples' son? This would account for the tenderness and affection with which the film is made, even when it isn't painting the characters in the most flattering light. Like when Isaiah talks about his past struggles with mental illness, or when Julia talks about their eldest son's drug addiction and the subsequent break-up of his marriage, or when Isaiah confesses to having an affair with his (much younger) assistant. The whole time great care and affection is present in the treatment of the characters. At times Isaiah and Julia even address the camera directly as Jeremiah, literally speaking to their son, infusing the narration with a real sense of intimacy, as though we as viewers are eavesdropping on a private conversation.
Despite the ostensibly sensitive subject matter, (director) Zagar refuses to gloss over any of his familial demons, instead gladly offering them up to the viewer for scrutiny. He knows that his father Isaiah is a troubled man, but he also knows that he achieves an unparalleled sense of fulfillment through his art, and the sheer passion and dedication he reveals when speaking about his work provides the viewer with a sense of pathos. Zagar works feverishly, manically, meticulously, relishing his work, and the camera does the same, swirling madly as Zagar mixes brilliant colors together, and pulling back eagerly when he finally finishes his sprawling pieces of art. Observing the process becomes just as intoxicating and entrancing as examining the final product.
Sure, it's a story that we've all heard before: the tortured artist finds his one true soulmate who fulfills him both personally and professionally, inevitably fucks it up, and eventually finds his own brand of redemption. But somehow, it works here; it is precisely the sincerity and the specificity of the story that carries it, as well as its unassuming lack of arrogance. At the beginning of the film, we see Isaiah Zagar reading off a quote from his wife Julia to his son Jeremiah, which reads, "Film your father, it's important." "I don't know about that," is Isaiah's wary response to the sentiment. Well, I don't really know either. I just know that it definitely deserves to be seen.
DVD Bonus Features
There are a couple of (very) short films by Jeremiah Zagar called "Paints on Ceiling" and "Coney Island, 1945," the latter being about Isaiah's decision to become an artist, and the former about Isaiah recalling his childhood; the former is particularly striking and artful. There's also a music video of Efterklang's "Cutting Ice to Snow," as well as a short documentary called "Recommitment," about Isaiah and Julia's reconciliation. There's also a theatrical trailer (self-explanatory,) deleted scenes (deleted for a reason), and an alternate ending.
"In A Dream" is on sale September 29, 2009 and is rated NR. Documentary. Directed by Jeremiah Zagar. Starring Isaiah Zagar, Julia Zagar, Ezekiel Zagar .
