A colourful, vibrant and stylish debut feature. Two talented actors starring opposite each other, and a hint of The Stepford Wives, all come together in DreamQuil. You are not entirely sure what the purpose of the film is, however it cannot be denied that the lack of colour and saturation in films the world has been complaining of has not been lost within this film. More about staging and production value, than script and plot, DreamQuil is truly something else.
Working together, sisters Alex and Vanessa Prager co-wrote the script to which would become Alex’s feature-length debut, DreamQuil. Patriot Pictures and Elizabeth Banks backed the production of the film, which helped it get its feet off the ground. As the film premiered at the 2026 SXSW Film Festival, audiences began to understand just how much influence Banks had in its creation.
In a post-apocalyptic, not so distant future, poor air quality leads to people living virtual lives from inside their homes. Carol (Banks) lives at home with her husband Gary (John C. Reilly) and their son, Quentin (Toby Larsen). Unhappy as a mother, wife, and in her career as well, she struggles to connect with the real world. When she begins feeling increasingly claustrophobic stuck at home, an ad for “DreamQuil” shows up at just the right time. Advertised as an ‘avant-garde digital wellness retreat,’ Carol thinks it will help get her life back on track.
Compelling to say the least, when Carol heads to the centre, a looming feeling graces the audience. Banks’ face says nothing to the sort of the weirdness that unravels around her, yet as the viewer, you know something is wrong. Carol returns home and discovers her family has been living with ‘Carol 2,’ a fully automated robot that ‘DreamQuil’ sent designed to help them in Carol’s absence. At first peaceful, things eventually become all too real for the robot and a sinister endeavour is afoot.
DreamQuil provides an almost reverse Stepford Wives feel as it was Carol’s choice to go through with the procedure. The idea was there, and definitely written with Banks in mind. It was the execution of the script itself where the film falls through. At first intriguing to see what looks to be the 60s era costumes in a post-apocalyptic world, Prager creates the feel of the future from the eyes of the past. By putting an unsatisfied female character as the protagonist, that is the exact impact she wants there. However, with an unresolved or slow ending, DreamQuil does not provide what you could hope for.
Thankfully, with Banks at the helm, you still cannot help but feel for Carol as she experiences these few weeks. From before the procedure, sad and feeling as though she could be doing more, to returning home to a stranger in the house that is slowly replacing her. All of these emotions are there and as Banks experiences them two-fold, the viewer has the chance to as well. She has an allure to her that brings heart to Carol, and the numbness to Carol 2.
Combining the talent of the cast with the costume and editing, there are elements of DreamQuil that help share the vision of the Pragers. Ethereal and church-like music, 60s costumes, futuristic items such as a programming pod, and much more. As the loose plot is revealed to the audience, more hand-made set products are used and it at least allows you to appreciate the art of filmmaking.
Ultimately, DreamQuil falls flat, but it does have its redeeming qualities. You can be grateful for the passion behind the project and the will to have a female who is not perfect as its protagonist. Female crafted projects are important to be out there. Banks and Reilly do have a good comedic like connection. In an all too possible world, DreamQuil does reflect upon the idea of how digital our lives are becoming. There is the opportunity to reflect inward after viewing.
Grade: C
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DreamQuil
Set in the not so distant future when poor air quality leads to people living mostly virtual lives. Carol is a dissatisfied career mother, struggling to find connection within her marriage to Gary and her child.
