Train Dreams
The extraordinary story of an ordinary life.
2025 | 102m | English
Popularity: 13 (history)
| Director: | Clint Bentley |
|---|---|
| Writer: | Clint Bentley, Denis Johnson, Greg Kwedar |
| Staring: |
| A logger leads a life of quiet grace as he experiences love and loss during an era of monumental change in early 20th-century America. | |
| Release Date: | Nov 05, 2025 |
|---|---|
| Director: | Clint Bentley |
| Writer: | Clint Bentley, Denis Johnson, Greg Kwedar |
| Genres: | Drama |
| Keywords | based on novel or book, husband wife relationship, slice of life, lumberjack, logger, meditative, calm, railroad worker, pacific northwest, poetic, depressing, compassionate |
| Production Companies | Kamala Films, Black Bear Pictures |
| Box Office |
Revenue: $0
Budget: $10,000,000 |
| Updates |
Updated: Feb 19, 2026 Entered: Nov 23, 2025 |
| Name | Character |
|---|---|
| Joel Edgerton | Robert Grainier |
| Felicity Jones | Gladys Grainier |
| Nathaniel Arcand | Ignatius Jack |
| Clifton Collins Jr. | Boomer |
| John Diehl | Billy |
| Paul Schneider | Apostle Frank |
| Kerry Condon | Claire Thompson |
| William H. Macy | Arn Peeples |
| Will Patton | Narrator (voice) |
| Alfred Hsing | Fu Sheng |
| David Paul Olsen | Toomis |
| John Patrick Lowrie | Mr. Sears |
| Chuck Tucker | Silent Man |
| Rob Price | Curious Logger |
| Brandon Lindsay | Elijah Brown |
| Eric Ray Anderson | Boss |
| Beau Charles | Young Logger |
| Rick Rivera | Foreman. New Cut |
| Taylor McKinley | Logger. New Cut |
| Ashton Singer | Avery Pinkham |
| Zoe Rose Short | Kate. Returned |
| Sean San Jose | Carnival Barker |
| Bonni Dichone | Woman at TV |
| Cisco Keanu Hoberock | Wolfboy |
| Clark Sandford | Pilot's Father |
| Amelia Hilsen | Pilot |
| Keith Cox | Ruffian in Store / Model T Driver (uncredited) |
| Bonne Vejou-Dorrell | Kootenai Indian (uncredited) |
| Ron Ford | Mr. Pinkham (uncredited) |
| Frank A. Gaimari | Church Attendee (uncredited) |
| Miles Glew | Fair Attendee (uncredited) |
| Pamela Kingsley | Chapel Congregant (uncredited) |
| Jennifer Simmons | Mrs. Pinkham (uncredited) |
| Eric David Wallace | Logger (uncredited) |
| Name | Job |
|---|---|
| Melisa Jusufi | Set Decoration |
| Kaleena Jordan | Hair Department Head |
| Cameron H. Price | Second Assistant Director |
| Lee Salevan | Sound Re-Recording Mixer, Supervising Sound Editor |
| Oleg Podobin | Stunts |
| Tom Struthers | Stunts |
| Erin O. Kay | Art Direction |
| Adam Whitley | Set Dresser |
| Luce Cousineau | Hairstylist |
| Kate Dixson | Makeup Artist |
| Adam McCollom | Sound Mixer |
| Nike Imoru | Locale Casting Director, Choreographer, Local Casting |
| Alexandra Schaller | Production Design |
| Bryce Dessner | Musician, Orchestrator, Original Music Composer, Songs |
| Cédric Chabloz | First Assistant Director |
| Keith Cox | Stunts |
| Art Hickman | Stunts |
| Jeff McKracken | Stunts |
| John Lavin | Supervising Art Director |
| Jennifer Chavez | Key Makeup Artist |
| Kelsey Wood | Sound Mixer |
| Michael Roundy | Special Effects Technician |
| Avy Kaufman | Casting |
| Parker Laramie | Editor, Post Production Supervisor |
| Ilia Mokhtareizadeh | Visual Effects Supervisor |
| Tornike Dzidzikashvili | Foley Artist |
| Chuck Tucker | Stunts |
| Tim Spencer | Steadicam Operator |
| Christina Burubeltz | Set Dresser |
| Douglas Decker | Hairstylist |
| Clint Bentley | Screenplay, Director |
| Adolpho Veloso | Director of Photography |
| Malgosia Turzanska | Costume Design |
| Leo Corey Castellano | Makeup Department Head |
| Denis Johnson | Novel |
| Alex Terzieff | Stunts, Stunt Coordinator |
| Brigitte Whitmire | Casting Associate |
| Erin Downhour | Stunts |
| Thomas Vu | Stunts |
| Curtis Taylor | Set Dresser |
| Kaija Mistral | Key Hair Stylist |
| Juliette Lewis | Hairstylist |
| Natasha Shallbetter | Makeup Artist |
| Nathan Whitcomb | Sound Mixer |
| Salome Maisuradze | Foley Mixer |
| Jeff Nichols | Thanks |
| Greg Kwedar | Screenplay |
| Jorge Castro | Stunts |
| Kent W. Luttrell | Stunts |
| Daniel Mimura | Steadicam Operator |
| Shefskie P. Sienkiewicz | Set Dresser |
| Danyale Cook | Key Hair Stylist |
| Alexi Sage | Hairstylist |
| Ricardo Martínez | Makeup Artist |
| Kevin Cook | Chief Lighting Technician |
| Dachi Abesalashvili | Foley Editor |
| Tom Taylor | Sound Mixer, Production Sound Mixer |
| Ryan Roundy | Special Effects Coordinator |
| Alexander Sanikidze | Foley Supervisor |
| Andrew Ryan Shepherd | Main Title Designer |
| David Lowery | Thanks |
| Nick Cave | Vocals, Songs |
| Dakota Keller | Costume Designer, Assistant Costume Designer |
| Gemma Hoff | Wig Designer |
| Akemi Hart | Hairstylist |
| Marc Dahlstrom | Production Supervisor, Transportation Coordinator |
| Nancy Valle | Executive In Charge Of Post Production |
| Devante Smith | Second Second Assistant Director |
| Dan Beyer | Assistant Set Decoration |
| Madison E. Cattle | Art Department Coordinator |
| Rob Chalk | Set Dresser |
| Vincent DeFelice | Key Scenic Artist |
| Aaron Fink | Leadman |
| Thomas A. Gilbert | Set Dresser |
| Andrew Imanaka | Carpenter |
| Bree Judah | Scenic Artist |
| Brent Lamb | Construction Coordinator, Carpenter |
| Matt Lask | Greensman |
| David Lewis | Construction Coordinator |
| Oscar Lofgren | Swing, Carpenter |
| Ben Menzel | Construction Coordinator |
| Nathan Pacyna | Greensman |
| Edgar Polkat | Set Dresser |
| Adrian Rasmussen | Additional Set Dresser |
| Júlia Sebök | Concept Artist |
| Matthew Siltala | Carpenter |
| Sarah Spiegelberg | Leadman |
| Carrie Stacey | Additional Set Dresser |
| Matthew Vidalis | Graphic Designer |
| Mia Yoshida | Set Dresser, Grip, Electrician, Props |
| Tina Babakishvili | Foley |
| Nathan Wozney | ADR Recordist |
| Kate Bilinski | ADR Editor, Dialogue Editor |
| Beau Emory | ADR Recordist |
| Vincent Gates | Boom Operator |
| Nina Leitenberg | Sound Mix Technician |
| Mehrnaz Mohabati | ADR Mixer |
| Chuck Roundy | Pyrotechnician |
| James Pendleton | Special Effects Manager |
| Stoil Vatev | 3D Artist |
| Casey Sargent | VFX Artist |
| Russell Sadeghpour | Visual Effects Coordinator |
| Jared Potter | VFX Artist |
| Martin Naydenski | VFX Artist |
| Rajesh Murthy | Matchmove Supervisor |
| J.D. McKee | Visual Effects Supervisor |
| Travis Berry | Visual Effects Producer |
| Jhon Goodwin | Utility Stunts |
| David Paul Olsen | Stunts |
| Diz Sharpe | Stunt Double |
| Duncan Vezain | Animal Wrangler, Stunt Double |
| Timothy Robin Spencer | Steadicam Operator |
| Angela Bernardoni | Second Assistant Camera |
| Marc Dewey | Assistant Chief Lighting Technician |
| Ryan Fritz | Key Grip |
| Bryan Gosline | Additional Camera |
| Morgan Hendrickson | Lighting Technician, Grip |
| Doug Hostetter | Additional Camera |
| Niall James | Dolly Grip |
| Nick Kelling | First Assistant Camera |
| Jon LaFollette | Key Rigging Grip |
| Joe Reding | Second Assistant Camera |
| D.S. Schaefer | Extras Casting, Still Photographer, Location Scout |
| Matthew Semchee | First Company Grip |
| Mike Vukas | Rigging Gaffer |
| Rachel Weinkauf | Assistant Chief Lighting Technician |
| Monika Holm | Casting Assistant |
| Addison Landsburg | Casting Assistant |
| Jennifer Simmons | Extras Casting |
| Netsanet Tjirongo | Extras Casting |
| Lisa Caryl-Vukas | Costume Supervisor |
| Kimberlee Iblings | Truck Costumer |
| Meg Schmitt | Set Costumer |
| Robyn Urhausen | Costumer |
| Lindsay Zgonina | Truck Costumer |
| Taylor Williams | Set Costumer |
| Karl Stieg | Additional Editor |
| Phil Andrade | Assistant Location Manager |
| Case Barden | Location Manager |
| Debbie Dahlstrom | Location Scout |
| Doug Daulton | Assistant Location Manager |
| Pete Moroz | Assistant Location Manager |
| Raymond Power | Assistant Location Manager |
| Luis Almau | Music Producer |
| Sam Amidon | Musician |
| Timo Andres | Musician |
| Oliver Howlett | Orchestrator, Music Editor |
| Clarice Jensen | Musician |
| Oleg Kondratenko | Conductor |
| Molly Hans | Script Supervisor |
| Herman Esau | Transportation Coordinator |
| Bonni Dichone | Choreographer |
| Alex Exline | Digital Intermediate Producer |
| Sergio Pasqualino | Colorist |
| Tashi Trieu | Colorist |
| Gideon Buchleiter | Production Assistant |
| Jennifer Gatts | Production Coordinator |
| Angela Boulet | Assistant Accountant |
| Casey Cowan | Production Accountant |
| Rebecca Cook | Payroll Accountant |
| Andrew Wert | Property Master |
| Elizabeth Himelstein | Dialect Coach |
| Tanera Marshall | Dialect Coach |
| Carla Meyer | Dialect Coach |
| Name | Title |
|---|---|
| Marissa McMahon | Producer |
| Michael Heimler | Producer |
| Ginny Liberto | Co-Producer |
| Scott Hinckley | Executive Producer |
| Ashley Schlaifer | Producer |
| Parker Laramie | Co-Producer |
| Will Janowitz | Producer |
| John Friedberg | Executive Producer |
| Teddy Schwarzman | Producer |
| Joel Edgerton | Executive Producer |
| Greg Kwedar | Executive Producer |
| Emma Whitmore | Associate Producer |
| Organization | Category | Person |
|---|
Popularity History
| Year | Month | Avg | Max | Min |
|---|---|---|---|---|
| 2024 | 4 | 3 | 7 | 1 |
| 2024 | 5 | 3 | 6 | 1 |
| 2024 | 6 | 4 | 20 | 0 |
| 2024 | 7 | 1 | 4 | 0 |
| 2024 | 8 | 1 | 3 | 0 |
| 2024 | 9 | 1 | 2 | 1 |
| 2024 | 10 | 1 | 1 | 1 |
| 2024 | 11 | 1 | 2 | 1 |
| 2024 | 12 | 2 | 3 | 1 |
| 2025 | 1 | 8 | 28 | 2 |
| 2025 | 2 | 4 | 10 | 1 |
| 2025 | 3 | 3 | 6 | 1 |
| 2025 | 4 | 1 | 1 | 1 |
| 2025 | 5 | 1 | 1 | 1 |
| 2025 | 6 | 1 | 1 | 1 |
| 2025 | 7 | 0 | 1 | 0 |
| 2025 | 8 | 1 | 1 | 0 |
| 2025 | 9 | 1 | 2 | 0 |
| 2025 | 10 | 4 | 5 | 2 |
| 2025 | 11 | 67 | 115 | 4 |
| 2025 | 12 | 25 | 57 | 17 |
| 2026 | 1 | 18 | 24 | 11 |
| 2026 | 2 | 15 | 19 | 11 |
Trending Position
| Year | Month | High | Avg |
|---|---|---|---|
| 2026 | 2 | 41 | 77 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2026 | 1 | 11 | 60 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 12 | 15 | 52 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 11 | 1 | 12 |
While in our youth, as we struggled to understand the puzzling nature of life, many of us likely heard our elders say, “You’ll understand someday when you get older,” advice that we probably tucked away in good faith for future reference. But how many of us actually came upon that promised understan ... ding when we grew into adulthood? Chances are, many of us patiently awaited the arrival of such insights only to discover that said assurance about them never panned out as hoped for. In fact, I’m willing to bet that failed expectation happened more frequently than not. And, in this sophomore feature outing from director Clint Bentley, that scenario would again seem to be the case as the film’s perpetually perplexed protagonist searches for meaning. But, considering how frequently this situation tends to occur in everyday life, for me, the key question becomes, do we really need to see a movie that depicts this kind of all-too-familiar experience, one that many of us have already gone through ourselves? This widely praised character study follows the life of Robert Grainier (Joel Edgerton), a logger who toils in the forests of the Pacific Northwest in the early 20th Century. Having been orphaned at a young age without ever knowing his parents, he’s always sought explanations for life’s mysteries, but they generally eluded him, even on into adulthood. And, in an era when the world was changing rapidly on many fronts, he longed for answers, though they never materialized, leaving him constantly wondering about his existence, particularly when he witnesses unexplained injustices, tragedies and personal setbacks. While it’s true that many of us can empathize with his circumstances, we nevertheless also can’t help but ask, “Well, who hasn’t gone through that?” (This isn’t exactly new ground.) In that sense, then, the film focuses on the yearning of a lost soul constantly striving for some grand revelation that never arrives, and it tries to elevate this notion to the level of something that’s never been conceived of before. Moreover, to emphasize the nobility of this point, the picture dresses it up with allegedly lofty voice-over observations that sound profound but that, frankly, don’t add much that’s meaningful or even interesting. The filmmaker also tries to cover these shortcomings with gorgeous cinematography and a capable lead performance by Edgerton (though, considering the admittedly less-than-demanding character of the role, that’s not exactly saying much). Perhaps the picture’s strongest (and most underrated) asset is its cast of colorful supporting players, most notably William H. Macy and Kerry Condon, though, regrettably, their screen time is somewhat limited. Given the accolades that have been generously showered on this offering, I find it disappointing that it fails to live up to the hype, both in terms of its cinematic attributes and, more importantly, the depth of its content. Maybe I’ll understand it better when I get older. But, given that there’s not much to understand in the first place, I sincerely doubt it.
I had high expectations going into TRAIN DREAMS, largely due to the heartwarming reception it received from friends and peers in the industry, along with some awards buzz. The film embraces 'slow cinema' at its most contemplative and dreamy, prioritizing mood and texture over a conventional plot. I' ... m a sucker for natural cinematography, and here the viewers are treated to pure visual cinema, capitalizing on the real wonders of our world with stunning static shots of sunsets near rivers and cabins deep in the woods. Even though the movie feels somewhat derivative and its trajectory becomes clear fairly quickly, it never drags or becomes dull thanks to the incredibly atmospheric score and the lyrical narration, which sets a poetic tone without ever feeling too heavy. At the heart of it all is Joel Edgerton, who delivers a career-best performance. It's a fantastic example of an "underperformance", a quiet display where dialogue is sparse, yet the actor transmits a universe of emotion, grief, and resilience exclusively through his facial expressions. It's a beautifully sad yet inspiring story about life, death, and endurance, sprinkled with surprisingly amusing moments of humor throughout the runtime. While I wish the film had gone deeper into some of its themes — specifically regarding cases of severe complicity from the protagonist, as well as the rawer edges of his grief — I understand that doing so might have worked against the dialogue-light structure Clint Bentley aimed for. TRAIN DREAMS ultimately stands as a testament to the power of enduring, proving that a quiet life is just as worthy of witnessing as a loud one. Rating: B
I had high expectations going into TRAIN DREAMS, largely due to the heartwarming reception it received from friends and peers in the industry, along with some awards buzz. The film embraces 'slow cinema' at its most contemplative and dreamy, prioritizing mood and texture over a conventional plot. I' ... m a sucker for natural cinematography, and here the viewers are treated to pure visual cinema, capitalizing on the real wonders of our world with stunning static shots of sunsets near rivers and cabins deep in the woods. Even though the movie feels somewhat derivative and its trajectory becomes clear fairly quickly, it never drags or becomes dull thanks to the incredibly atmospheric score and the lyrical narration, which sets a poetic tone without ever feeling too heavy. At the heart of it all is Joel Edgerton, who delivers a career-best performance. It's a fantastic example of an "underperformance", a quiet display where dialogue is sparse, yet the actor transmits a universe of emotion, grief, and resilience exclusively through his facial expressions. It's a beautifully sad yet inspiring story about life, death, and endurance, sprinkled with surprisingly amusing moments of humor throughout the runtime. While I wish the film had gone deeper into some of its themes — specifically regarding cases of severe complicity from the protagonist, as well as the rawer edges of his grief — I understand that doing so might have worked against the dialogue-light structure Clint Bentley aimed for. TRAIN DREAMS ultimately stands as a testament to the power of enduring, proving that a quiet life is just as worthy of witnessing as a loud one. Rating: B
I had high expectations going into TRAIN DREAMS, largely due to the heartwarming reception it received from friends and peers in the industry, along with some awards buzz. The film embraces 'slow cinema' at its most contemplative and dreamy, prioritizing mood and texture over a conventional plot. I' ... m a sucker for natural cinematography, and here the viewers are treated to pure visual cinema, capitalizing on the real wonders of our world with stunning static shots of sunsets near rivers and cabins deep in the woods. Even though the movie feels somewhat derivative and its trajectory becomes clear fairly quickly, it never drags or becomes dull thanks to the incredibly atmospheric score and the lyrical narration, which sets a poetic tone without ever feeling too heavy. At the heart of it all is Joel Edgerton, who delivers a career-best performance. It's a fantastic example of an "underperformance", a quiet display where dialogue is sparse, yet the actor transmits a universe of emotion, grief, and resilience exclusively through his facial expressions. It's a beautifully sad yet inspiring story about life, death, and endurance, sprinkled with surprisingly amusing moments of humor throughout the runtime. While I wish the film had gone deeper into some of its themes — specifically regarding cases of severe complicity from the protagonist, as well as the rawer edges of his grief — I understand that doing so might have worked against the dialogue-light structure Clint Bentley aimed for. TRAIN DREAMS ultimately stands as a testament to the power of enduring, proving that a quiet life is just as worthy of witnessing as a loud one. Rating: B
I had high expectations going into TRAIN DREAMS, largely due to the heartwarming reception it received from friends and peers in the industry, along with some awards buzz. The film embraces 'slow cinema' at its most contemplative and dreamy, prioritizing mood and texture over a conventional plot. I' ... m a sucker for natural cinematography, and here the viewers are treated to pure visual cinema, capitalizing on the real wonders of our world with stunning static shots of sunsets near rivers and cabins deep in the woods. Even though the movie feels somewhat derivative and its trajectory becomes clear fairly quickly, it never drags or becomes dull thanks to the incredibly atmospheric score and the lyrical narration, which sets a poetic tone without ever feeling too heavy. At the heart of it all is Joel Edgerton, who delivers a career-best performance. It's a fantastic example of an "underperformance", a quiet display where dialogue is sparse, yet the actor transmits a universe of emotion, grief, and resilience exclusively through his facial expressions. It's a beautifully sad yet inspiring story about life, death, and endurance, sprinkled with surprisingly amusing moments of humor throughout the runtime. While I wish the film had gone deeper into some of its themes — specifically regarding cases of severe complicity from the protagonist, as well as the rawer edges of his grief — I understand that doing so might have worked against the dialogue-light structure Clint Bentley aimed for. TRAIN DREAMS ultimately stands as a testament to the power of enduring, proving that a quiet life is just as worthy of witnessing as a loud one. Rating: B