The Dreamers (2003)

The Dreamers (2003) is a romantic drama film directed by the legendary Italian filmmaker Bernardo Bertolucci. The screenplay was written by Gilbert Adair, based on his own novel The Holy Innocents. Set in Paris during the political unrest of May 1968, the film explores themes of youth, freedom, and identity through the lives of three young cinephiles.


The story follows Matthew, an American exchange student in Paris, who befriends twins Théo and Isabelle. The three quickly bond over their shared passion for cinema, especially classic films. When the twins’ parents leave town, the trio becomes isolated from the outside world, indulging in a series of psychological and emotional games that challenge their perceptions of reality, love, and personal boundaries.


The characters in The Dreamers are deeply complex. Matthew is thoughtful and curious, often acting as the outsider trying to understand the intense relationship between Théo and Isabelle. The twins are charismatic and enigmatic, with a deeply intimate bond that borders on the unsettling. Their interactions are filled with tension, desire, and a longing for connection, making their relationship one of the film’s most compelling aspects.


The Dreamers is not only a story about youth and sexuality but also a reflection on cinema and politics. The film pays homage to classic movies, with scenes that recreate iconic moments from film history. Bertolucci blends sensuality with intellectualism, using a poetic and provocative visual style. The backdrop of the 1968 Paris student riots adds a historical and revolutionary dimension to the personal drama.


In conclusion, The Dreamers is a bold and thought-provoking film that challenges traditional ideas of love, identity, and freedom. While some scenes may be controversial, they serve to push the boundaries of storytelling and explore the complexities of human relationships. For those who appreciate arthouse cinema and historical context, The Dreamers is a fascinating and unforgettable experience.

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