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Blue Dream
Blue Dream
Blue Dream
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Blue Dream
Directed byGregory Hatanaka
Written byGregory Hatanaka
T.L. Young
Produced byGregory Hatanaka
Clinton H. Wallace
Tomi Ilic
Chris Faulisi
Barry O'Rourke
StarringJames Duval
Dominique Swain
Pollyanna McIntosh
Kayden Kross
Noah Hathaway
Walter Koenig
CinematographyChris Faulisi
Edited byB.N. Lindstrom
Music byToshiyuki Hiraoka
Distributed byCinema Epoch
Release dates
  • February 16, 2013 (2013-02-16) (San Francisco Independent Film Festival)
  • September 10, 2013 (2013-09-10)
[citation needed]
Running time
89 minutes
LanguageEnglish

Blue Dream is a 2013 drama film directed by Gregory Hatanaka.[1] It stars James Duval, Dominique Swain, Pollyanna McIntosh, Kayden Kross, Noah Hathaway, and Walter Koenig and Sal Landi.[1] It premiered at the SF Indiefest[2] and Gold Coast Film Festival in Australia.[3]

Premise

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Robert Harmon is a newspaper journalist in the late 1990s.[4] As the Internet begins to take over and print circulation declines, he is forced to make a series of unethical and immoral decisions leading to his downfall.[2]

Cast

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Blue Dream

View on Grokipedia
from Grokipedia
Blue Dream is a American directed by Gregory Hatanaka. It stars as , a print journalist who descends into alcohol, drugs, and amid the collapse of traditional media in the age, with supporting roles by , , and . Written by Hatanaka and Tony T.L. Young, the film was produced by CineRidge Entertainment and Cinema Epoch, and premiered on November 17, 2016, via streaming platforms.

Plot and themes

Plot summary

Blue Dream is set in late 1990s during the early rise of the , which threatens the viability of print journalism. The , , works as a reporter at a struggling edited by Ted Sellers. Initially focused on crime stories, Harmon collaborates with intern Gena Townsend to create a map of local crime scenes, showing his ambition to cover impactful news. However, as circulation declines, Harmon begins compromising his integrity through unethical decisions to generate interest and secure his position. Harmon's personal life becomes increasingly entangled with his professional turmoil. He initiates an affair with his editor, , which provides temporary distraction but exacerbates his moral descent. When the is acquired by corporate media mogul and his sons, the atmosphere shifts toward and cost-cutting. Harmon transitions to the role of critic and starts a relationship with Tara, the daughter of the wealthy buyers, further blurring lines between his and private indulgences. Amid this, he delves into excessive drinking, drug use, and , while a involving a series of draws his sporadic attention as he attempts to investigate them. A colleague, George Weber, adapts by launching an early , highlighting the shifting media landscape. These unethical choices and hedonistic pursuits culminate in Harmon's professional and personal isolation, as his actions come under and relationships fray. The narrative portrays his arc as a downward spiral into debauchery, with the unresolved thread underscoring the chaos of his existence, ending without redemption or clear resolution.

Central themes

Blue Dream delves into in by illustrating the moral compromises undertaken amid the erosion of print media. The protagonist, , a dedicated reporter, confronts the sale of his publication to a powerful , prompting him to succumb to vices including alcohol, drugs, and illicit relationships that undermine his professional principles. These choices reflect the ethical dilemmas journalists face when economic survival clashes with journalistic standards, as Harmon prioritizes personal gratification over in a bid to cope with impending job loss. Set against the backdrop of the late 1990s, the film portrays the disruptive force of the on traditional through Harmon's mounting desperation as digital platforms begin eclipsing print outlets. His efforts to maintain relevance in an evolving industry expose the tensions between outdated practices and , with the narrative emphasizing how this shift fosters a sense of irrelevance and instability among media professionals. Harmon's unraveling amid corporate overhauls and technological upheaval serves as a microcosm for the broader transformation of the field. The protagonist's personal downfall functions as a for the obsolescence of the print era, tracing his spiral into moral ambiguity and self-destruction as emblematic of the sector's decline. His pursuit of solving a series of murders amid his chaos underscores the struggle to maintain in the face of . This arc highlights subtle commentary on ambition and the human cost of professional setbacks, revealing how unchecked drive in a collapsing industry exacts a profound toll on one's and .

Production

Development

The screenplay for Blue Dream was written by Gregory Hatanaka, Rich Mallery, and Tony T.L. Young. The project originated in the early , with Hatanaka taking on multifaceted roles as , director, and to shape its experimental narrative. Key producers included Clinton H. Wallace, Tomi Ilic, Chris Faulisi, and Barry O'Rourke, supporting the film's development as a low-budget independent endeavor typical of Hatanaka's output. Hatanaka, known for prior independent works such as Mad Cowgirl (2006), infused the pre-production with his established approach to raw, boundary-pushing storytelling.

Filming and post-production

Principal photography for Blue Dream took place primarily in Los Angeles, California, utilizing the West Adams Stages at 3420 W Washington Boulevard to construct interior scenes that evoked the atmosphere of 1990s newsrooms and urban environments central to the story's setting in the declining world of print journalism. The production leveraged these controlled stage environments to simulate the gritty, confined spaces of a newsroom under corporate pressure, allowing for efficient shooting despite logistical constraints typical of independent filmmaking. Cinematographer Chris Faulisi captured the visuals with a focus on realistic, intimate shots that heightened the film's dramatic tension, employing natural lighting and handheld techniques to convey the protagonist's disorientation and moral descent. The shooting schedule was completed in a compressed timeframe, reflecting the low-budget nature of the production, which reportedly had a total budget of around $1 million and relied on a small crew to manage resources effectively. This approach resulted in limited on-location exteriors, with most action confined to the soundstage to minimize costs and logistical challenges, such as securing multiple urban sites in . In , editor B.N. Lindstrom assembled the footage. Toshiyuki Hiraoka created an original score. The low-budget constraints extended to post, where minimal digital enhancements were used, preserving the production's authentic, indie sensibility as noted by critics who observed its economical yet evocative style.

Cast and crew

Cast

James Duval stars as Robert Harmon, the film's protagonist, a jaded and at a weekly newspaper who spirals into a of drugs, sex, and corporate intrigue while investigating a series of murders amid the decline of print media. Dominique Swain portrays Gena Townsend, an ambitious intern whose fascination with mapping local crimes draws Robert into a web of mystery, providing a contrasting youthful to his cynicism. Pollyanna McIntosh plays Amanda, Robert's editor and illicit lover, whose professional guidance and personal entanglement deepen his immersion in the newspaper's chaotic environment. Kayden Kross, known for her transition from adult films to mainstream roles, embodies Tara, the seductive daughter of the newspaper's new owner, whose affair with Robert highlights themes of power and temptation in the corporate takeover. appears as Roper Karlsson, a enigmatic figure entangled in the office dynamics and shadowy undercurrents of the story's murder investigation. Walter depicts , the ruthless newspaper tycoon and patriarch of the acquiring family, whose buzzword-laden machinations drive the plot's exploration of media consolidation. Sal Landi rounds out the key cast as George Weber, an early-introduced blogger whose online presence underscores the encroaching digital disruption to traditional .

Crew

Gregory Hatanaka directed Blue Dream, overseeing the film's artistic vision while also contributing as and , a common multitasking role in low-budget independent cinema that fostered close collaboration among the core team. The production was led by producers Clinton H. Wallace, Tomi Ilic, Chris Faulisi, and Barry O'Rourke, who handled funding acquisition, logistical coordination, and resource management to bring the project to fruition on a modest scale typical of indie features. Key technical roles were filled by cinematographer Chris Faulisi, who captured the film's intimate, noir-inflected visuals; editor B.N. Lindstrom, responsible for assembling the narrative flow; and composer Toshiyuki Hiraoka, who crafted the atmospheric score to enhance the thriller elements. Barry O'Rourke doubled as production designer, shaping the film's sets and art direction alongside set decorator Ariana Del Rio, contributing to the gritty, urban aesthetic that underscored the story's themes of moral ambiguity in an independent production environment.

Release and reception

Release

Blue Dream premiered at the Independent Film Festival (SF IndieFest) on February 16, 2013, at the Roxie Theater. Its East Coast premiere followed at the Boston Underground Film Festival. The film received limited distribution, primarily through festival circuits and video-on-demand platforms, bypassing a wide theatrical release. No significant marketing campaigns were noted, consistent with its low-budget independent status.

Reception

Blue Dream received limited critical attention upon its release, reflecting its status as a low-budget primarily screened at festivals such as the IndieFest and Underground Film Festival. Critics who reviewed it often highlighted the film's ambitious exploration of the decline of print journalism amid personal excess, but noted execution flaws in direction and pacing. For instance, a review from the Chlotrudis Society for Independent Film described it as "tremendously frustrating," praising the thematic intent but criticizing the lack of cohesion and failure to tie its chaotic elements together effectively. James Duval's lead performance as the spiraling journalist Robert Harmon drew particular notice, with some observers commending his portrayal of moral decay and vulnerability as a standout in an otherwise uneven production. A 2025 retrospective review in CineDump lauded Duval's work as a "triumph," noting how it subverted his typical typecasting to deliver a haunting depiction of a man unraveling in a media landscape on the brink of collapse. However, direction by Gregory Hatanaka faced criticism for erratic storytelling and stylistic indulgences, with festival coverage from SF IndieFest calling the film "very strange" and disorienting in its frequent tonal shifts. Audience reception has been similarly niche, appealing primarily to enthusiasts of indie and media-themed narratives, though online platforms reveal polarized views. On , the film lacks a Tomatometer score due to insufficient reviews but holds a 97% audience score from over 100 ratings, tempered by user complaints about gratuitous , low production values, and a confusing plot. IMDb user reviews average 4.0/10 from nearly 900 ratings, with many decrying the lack of engaging or narrative drive, while a smaller contingent appreciates its prophetic take on journalism's demise. Recent online discourse, including logs from 2024-2025, shows growing cult interest, with viewers praising its "stylish, haunting" atmosphere and relevance to contemporary media crises, though pacing remains a common critique. The overall consensus remains mixed and sparse, with praise centered on the film's timely thematic relevance to the erosion of traditional but frequent detractors pointing to uneven pacing, budgetary constraints, and overreliance on over substance. No major awards or nominations were garnered, and box office performance was negligible, as the film bypassed wide theatrical release in favor of video-on-demand and festival circuits.
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