Paris, spring 1968. While most students take the lead in the May 'revolution', a French poet's twin son Theo and daughter Isabelle enjoy the good life in his grand Paris home. As film buffs they meet and 'adopt' modest, conservatively educated Californian student Matthew. With their parents away for a month, they drag him into an orgy of indulgence of all senses, losing all of his and the last of their innocence. A sexual threesome shakes their rapport, yet only the outside reality will break it up.Written by
Early in the film, Matthew hides a stolen photograph of Isabelle in his underpants to prevent his hosts from seeing him with it. Later, he loses a contest with Isabelle and is forced by her to strip and the photograph is still inexplicably in his underwear, even though several days have passed and he is wearing completely different clothes. See more »
The first time I saw a movie at the cinématèque française I thought, "Only the French... only the French would house a cinema inside a palace."
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The word "events" is misspelled in the sentence stating "The wevents, characters and firms depicted in this photoplay are fictitious." See more »
US R-rated version runs ca. 3 minutes shorter than the uncut NC-17-rated version. See more »
Paris, May 1968. Revolution breaks out and the world seems to be in a critical turning point, but inside the four walls of an apartment, three youngsters experience their very own revolution.
Yes, it's true. In the year 2004, one of the best cinematic experiences is offered by Bertolucci. Many are those who'd thought that he had nothing more to give, but with THE DREAMERS, the creator is reborn and next to his heroes he witnesses again the passage from adolescence and innocence to the age of responsibilities. A great fan of cinema himself, he doesn't hesitate to pay a number of tributes, just like Godard used to do in the past and Tarantino very recently. As he puts his view into the eyes of his protagonists, the girl and the boys seem to live inside the movies they adore. They're playing with lines from known films, they imitate characters, they put themselves into the sequences they love.
Despite their young age, all three actors not only do they show that they're worth of starring in a Bertolucci film, but they also go even further giving in every scene the necessary vividness and realistic tension. Ignoring the cosmogony taking place in the streets, they surrender to their own cosmogonic changes, to the wild sexual awakening, to the game between friendship and love, pleasure and pain. Eventually they commit themselves to the struggle between the game itself and real life. And that's where the heroes violently return in the thrilling final sequences in order to face their duty towards history.
THE DREAMERS is by far one the best motion pictures of the year, so daring but at the same time so energetic that seems able to touch anyone as a pure and romantic confession of a great filmmaker.
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