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Almost hallucinatory images of unidentified sleeping figures float across the screen to the accompaniment of increasingly unnerving monologues, the "dream narratives" of Dion McGregor, an aspiring Broadway lyricist who may have been performing for his roommate actively recording these sessions. In somniloquies, Paravel and Castaing-Taylor discover a dark, forked path to the unconscious in the ranting, sleep-talking voice of an obsessive and possibly deranged individual whose racist, misogynistic and xenophobic fears are unleashed with propulsive force and screeching climaxes. Written by Harvard Film Archive
Could we call the content of sleep-talking a reflection of the unconscious, a window into the murky depths of the Lacanian Real? To some extent, Somniloquies validates the Freudian thesis about the centrality of sex in the subconscious. But that's not half of it. Many of the somniloquies chosen for the film are a Lacanian series of sinthome after sinthome, analytic and neurotic.