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Destitute and adhering to threadbare hope, an ambitious Hollywood high-flyer rehearses her Oscar accent at one point in Mike Ott’s is-it-or-isn’t-it docufiction “California Dreams” — admitting as her ardent sentiments burst forth, it’s absolutely addition else’s accepting accent that springs poignantly to mind. “You can’t barter in your dream for addition dream,” said Viola Davis at the SAG Awards a few years back, and so it proves for the afflicted animal capacity of Ott’s film: a canaille ensemble of bush underachievers whose shared, admired fantasy of authoritative it in the movies gets them up in the morning, but not abundant added than that. Well, they’re in a cine now: As is Ott’s wont, “California Dreams” blurs the band amid simulated vérité and accurate observation, authoritative it generally absurd to acquaint whether those on camera are arena themselves, artlessly actuality themselves or a aggregate of the two. To what admeasurement are they in on the joke? And is the blur accusable of corruption regardless? These are questions aboveboard arrive by Ott’s lustrously attempt provocation, his best broadly attainable anomaly to date.

“Acting is the alone affair I’m absolutely acceptable at,” says Cory Zacharia, the best acutely featured of Ott’s capacity — a sweet, artless 28-year-old wastrel from Lancaster, CA, who hasn’t captivated a job in eight years but still believes silver-screen distinction is achievable. It’s one of abounding statements in “California Dreams” that is wholly up for debate. Cory doesn’t seem like a acceptable actor. Added than once, he delivers an audience address from Francis Ford Coppola’s “The Outsiders” with awkward abridgement of conviction, and fields remote, added angered offers of a cine advance from a German ambassador who likens him to James Bond — a vacancy, one suspects, that has formed its way bottomward the aptitude ladder.

Yet things aren’t exactly as they appear: In reality, the lanky, uncommanding Zacharia is one of Ott’s approved collaborators, accepting bogus his awning admission in 2010’s affection “Littlerock.” If he’s accordingly arena a worst-case-scenario adaptation of himself, acquisitive for a breach while applying for assignment at Taco Bell beneath the skeptical, margarita-blurred boring of his mother (Elizabeth Zacharia), again he’s playing it rather effectively. There’s article rather affective about the chastity of Cory’s delusion, bogus or contrarily — a affectionate of anti-star affection that in itself becomes abnormally magnetic. The sheer, aboriginal adorableness of the film’s craft, meanwhile, makes its about absoluteness akin added elusive: Mike Gioulakis’ serenely attractive cinematography trades in romantically adusk pastels and advised compositional symmetry, lending a heightened, intrinsically accurate afterglow to Ott’s called expanses of Californian nowhere. Whether they apperceive it or not, the abstract losers of “California Dreams” are already active in a affectionate of la la land.

Even as we acquire the artifice of the film’s construction, however, Ott’s presentation of his absurd arch man challenges our comfort. His struggles with basal articulacy and numeracy are presented as deadpan ball — if not at the amount of Cory himself, who may or may not be arena impaired on camera, than at the absent masses he represents. By the time an anonymous off-camera accuser presses Cory for capacity of his adolescent female and brainy bloom history, “California Dreams” has accustomed us no baseline by which to actuate whether the raw, abashing revelations that appear are fatigued from activity or scripted from attenuate air. Abounding will see this as wilful, akin irresponsible, trickery. At the above time, Ott has artfully complete a glace anteroom of animal mirrors, testing and abolition the rules of affinity in documentary and anecdotal cinema alike.

Similar analysis is accorded the added case studies in “California Dreams,” admitting with far beneath acceptable awning time — an alterity that heightens the accident of bargain caricature. Shy, chaste Filipino immigrant Patrick Llaguno’s dreams of distinction assume akin added adopted than Cory’s; akin those of Kevin Gilger, a storage-unit administrator attempting to bend a decidedly alcove bazaar in impersonating Dog the Bounty Hunter. Neil Harley, a schlumpy ambitious biographer from Las Vegas, is conceivably the best well-adjusted of a analogously brittle bunch; the best affecting is middle-aged Carolan Pinto, who affairs her above Oscar-night speech from the beaten-up car that has been her alone home for years.

Woven in and about Cory’s added elaborately abundant account of tragicomic woe, these appearance sketches don’t do abundant to added complicate the film’s already cryptic apriorism — admitting Patrick’s best agreeable chestnut may alleviate it to some extent. Before carrying his own fluctuant audience address from his admired film, “Forrest Gump,” he explains that he grew up assertive Robert Zemeckis’ idiot-savant fantasy was a fact-based biopic — a misconception, he says, that “proves how able cinema can be.” Spinning off this innocent angle with appreciably added cynicism, “California Dreams” itself asks whether one needs to apperceive the “truth” of a adventure to be confused by it.

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