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    West Texas Romance

    Aspiring Dallas director looks to 1970s lost-love stories for first short film

    Jonathan Rienstra
    Aug 25, 2013 | 9:17 am

    For his first narrative short film, John and Claudia, aspiring local filmmaker David Redish looked to the 1970s — both the decade itself and the films of the era.

    “We wanted it so that it looked like a film made in the ’70s,” he says. “There were a lot of ‘lost love’ stories coming out then, like Bonnie and Clyde, that were pretty cutting-edge. We wanted to pay homage to that style of filmmaking.”

    John and Claudia, about a drifter and a small-time belle in West Texas, was shot during the course of a week in Marfa and Whitewright. The wide-open landscape shots highlight the vast, windswept beauty of the area.

    “We wanted it to feel very nostalgic,” Redish says. “Whether you’re 10 or 80, we wanted it to feel like it’s part of your past.”

    The short, running at eight minutes and 40 seconds, follows the story of drifter John (played by Zach La Vey) and Claudia (played by Allegra Lucchesi). Their doomed love story revolves around a bank heist gone wrong. To highlight the passion of young love, the film is full of vibrant reds set against the classic blues and golds of the world these two inhabit.

    “We wanted it to feel very nostalgic,” Redish says. “Whether you’re 10 or 80, we wanted it to feel like it’s part of your past. It’s a mix of feeling like you’re dreaming combined with some gritty parts.”

    Redish is one half of Slice Media, a Dallas video firm that has primarily worked on commercials thus far. Working with his partner, Cesar Jasso, and fellow Texan and writer Matthew Miller, Redish spent several months in preproduction before shooting in March 2013.

    The move to narrative work brought with it several new obstacles to overcome.

    “When we do a commercial, it’s two or three days of shooting for a 30-second ad. You’re done with the whole thing in a month,” Redish says. “A project like this ... is a totally different time commitment. You really have to invest your entire life into it.”

    With only a cast of two, Redish was positive that he wanted to get the roles casted properly. Lucchesi came on first to play Claudia after an audition in Los Angeles against 25 other actresses.

    "We knew who Claudia was," Redish says. "We knew she was going to be the hero of the story and that a lot was going to fall on her shoulders. Allegra was perfect for the role, and her openness to direction made it an easy job."

    For the role of John, Redish says that the process was a little more difficult. Redish says he wasn’t sure who exactly John was supposed to be, besides a drifter and robber. But they found La Vey and slowly began to form a more concrete idea of the character.

    “Zach said something that really made me see him in the role,” Redish says. “He told me ‘I think John is like a coyote. They’re loners, scavengers that are afraid.’ That’s what you want out of an actor — someone who can take words on a page and make it their own.”

    The third character of the film is John’s red 1967 GTO. Redish says that they wanted a car that connected people to the time and attitude of West Texas. He also wanted a car that was too nice for someone like John to actually have.

    “In a period piece, technology is the benchmark,” Redish says. “We’re kind of aware that he’s stolen this car. When you see the film, it has its own arc and takes the story full circle. It’s more than a vehicle to get from A to B.”

    For now, Slice Media is submitting the film to festivals, including South by Southwest and Sundance, while also hoping to include it in local events like the Dallas International Film Festival. If producers like what they see, it could turn into a feature-length film.

    Redish also plans to shoot another short. The untitled film is a coming-of-age story set in modern-day Dallas. Because it will be less intensive than a period piece shot on location, Slice plans to have it done by the end of 2013.

    “John and Claudia had a lot of moving parts,” Redish says. “This next one is more down to earth. It's about championing coming of age in Dallas and our experiences growing up here.”

    Allegra Lucchesi plays Claudia, a small-town beauty, in John and Claudia.

    Allegra Lucchesi in John and Claudia
    Photo courtesy of Slice Media
    Allegra Lucchesi plays Claudia, a small-town beauty, in John and Claudia.
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    news/entertainment

    Movie Review

    Jessica Chastain drama Dreams stumbles through steamy romance

    Alex Bentley
    Feb 27, 2026 | 1:30 pm
    Isaac Hernández and Jessica Chastain in Dreams
    Photo courtesy of Teorema
    Isaac Hernández and Jessica Chastain in Dreams.

    The opening scenes of the new drama Dreams are bracing, fictional sequences that call to mind real-life scenarios. In them, a young Mexican man named Fernando (Isaac Hernández) goes through a somewhat harrowing journey from the back of a semi truck in South Texas all the way to San Francisco. It’s a familiar immigrant story that seems to set the stage for a film with something interesting to say.

    It turns out, however, that Fernando has not made the long and arduous trek for a job. Instead, it’s to be with Jennifer McCarthy (Jessica Chastain), a rich woman who helps lead a foundation dedicated to multiple things, including funding dance academies. Fernando, a talented dancer, and Jennifer have been in an off-and-on affair for years, with Jennifer wanting to keep their relationship a secret.

    Although both are drawn to each other in an inexplicable, lustful way, their bond is tenuous, with each of them dissatisfied for different reasons. Fernando clearly sacrifices much more of himself than Jennifer, who wants for nothing except maybe more affection from her father, Michael (Marshall Bell), and brother, Jake (Rupert Friend).

    Writer/director Michel Franco seems to try to inject tension into Fernando and Jennifer’s relationship from the start, an attempt that is only halfway successful. It’s clear from the way they greet each other - not to mention a steamy sex scene shortly thereafter - that they have known each other for a good length of time. Franco is able to get across this familiarity with an economy of scenes, and the intensity of their bond holds for a while.

    But as the film progresses and both of them grow disenchanted with their arrangement, Franco starts taking the story in some odd directions. The biggest issue is that it’s never clear at what point in time the story is taking place. Fernando ends up making multiple trips back and forth across the border, with Jennifer doing the same at one point, and Franco’s use of flashbacks muddies the waters, wrong-footing the audience when he should be trying to draw them further into Fernando and Jennifer’s complications.

    Revelations in the final act make the story even more confusing, as both main characters start saying and doing harsh things that seem to come out of nowhere. That would be all well and good if Franco actually committed to their changes of heart, but he keeps things wishy-washy for most of the final 15 minutes, resulting in an ending that makes little sense for either character.

    Despite the story issues, both Chastain and Hernández give compelling performances. Chastain has been a little under the radar since winning an Oscar for The Eyes of Tammy Faye, but she keeps this character interesting longer than it should have been. Hernández has limited credits and appears to have been cast for his dancing ability, but he goes toe-to-toe with Chastain on more than one occasion and acquits himself well.

    Dreams had all of the ideas to explore a more in-depth story about the complicated immigration policies between Mexico and the U.S., or how wealthy people take advantage of those less fortunate. But Franco never finds the right footing, settling instead for a titillating and somewhat mystifying relationship story that feels half-baked.

    ---

    Dreams is now playing in select theaters.

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