The Dream World of Dion McGregor by Dion McGregor

While McGregor narrates his dreams in a multitude of voices and registers, sometimes even in a gibberish language with strikingly convincing syntax, a roaming, ethereal camera captures a succession of naked sleeping bodies that seem impossibly suspended in a completely dark space. The variously bonkers and consistently fascinating tales include a lengthy account of the history of Midget City, a city McGregor built as a sanctuary from discrimination, attracting a population of over 32,000 dwarfs in the 14 years since its founding an anatomy lesson in which McGregor offers his own body for demonstration, instructing students on how to dissect and then sew him back up and a rundown of some sort of sex organization’s weekly schedule: Monday is the day of the masturbation wagon, Tuesday the titwagon, Wednesday the watchwagon, and so on till the weekend (“Fuckwagon and watchwagon are the best.

These are all spoken by Dion McGregor, a musician from New York described in the film’s opening titles as “the world’s most prolific sleep-talker.” Over a period of six years, McGregor’s flatmate recorded hundreds of his elaborate, vividly narrated dreams, and excerpts from the recordings play in voiceover throughout somniloquies, a new film co-produced by Harvard’s Sensory Ethnography Lab and screened in the Berlinale’s Forum sidebar. I hate it, I hate it, I hate it! I want the future. Some lines from Véréna Paravel and Lucien Castaing-Taylor’s somniloquies: Sniadecki, Joshua Bonetta, Lucien Castaing-Taylor, Mike Ott, somniloquies, Véréna Paravel

Berlin International Film Festival, Berlin International Film Festival 2017, Berlinale, California Dreams, El mar la mar, J.P.

The Dream World of Dion McGregor by Dion McGregor