BlazeLime Strong and Moving!

Intcatinfo A Masterpiece!

Hadrina The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

Filipe Neto After watching this movie I got the feeling that the strongest point of it is the participation of Eva Green, in her first movie by coincidence. The whole story is about three young students who are in Paris: two are French and are brothers, the third is an American and is doing an exchange to learn the country's language. Chemistry between them is intensified by their interest by cinema. From then on, the film beggins a series of debates (a little insipid to normal public but curious to the experts and movie-goers) about cinema, with cameos and tributes to several films and actors. Here, sometimes, its necessary to know cinema and to have some cinematic culture in order to follow everything. Then, as the events of May '68 take place, the three are getting more and more intimately involved. Sex is a structural part of the story from the beginning, its introduced very well by the sensuality and eroticism of Eva Green and isn't ugly or sinful, as in many films usually ends up becoming. However, full nudity scenes are many, can hurt sensibilities of more modest audiences and advise discretion before watch the movie.This film is about revolutions, hopes, yearnings, dreams, sex and cinema. Everything is mixed, everything is a vehicle for dreaming, for the estrangement of reality. But if it weren't for the absolutely fantastic performance of Eva Green, seductive, strong and mysterious, the film would not have half the interest or quality it has.

Kirpianuscus provocative. a word who, in this case, has a lot of senses. sure, the atmosphere of "68 is the first pillar of fascination about it. the second - the eroticism and performances of lead actors and cultural references and the map of an unique age. not the last - it is a film by Bertolucci. and , maybe, this status represents the key for discover it in the right light. because it is the genre of film who explores symbols and the essence of freedom. because the name of director is the first step for expectations. because it is a film who seems be poetic and cruel and profound honest and strange. in fact, it is not exactly a show but a precise analysis. like each film of Bernardo Bertolucci. the sensuality, the admirable refuge of three young people far from near every day reality, remembering the old utopias, are pieces of a fascinating game between illusions and the cold truth.

hamass-mujadid I had watched The Dreamers a very long time ago, but it was just nude clips on DailyMotion; I never realized that a movie with NC-17 could have any aesthetic potential, so I thought, "Why bother going through the whole piece?" Now that I was ahead of the "hetro erectus" phase, I watched The Dreamers again, this time whole of it, and I swear, I didn't have any interest in watching those scenes while I was just in the initial stages. This implies that the movie was made for a whole lot of reasons, but nudity was not one of them. Audacity and explicitness might be. The Dreamers dreams high. It talks about world at a small-scale and minuscule level, it talks about the every-day interaction patterns, and what these patterns symbolize. It talks about the cognitive confusions, dilemmas, predicaments, and everything baffling about this world. It talks about how not every individual agrees with the norm, in fact, doesn't even agree to them being norm. Such individuals consider their lives resembling superficiality, and consider themselves agents of it. They associate every move and variation of their life with the one elsewhere. The Dreamers bring such people to reality. I'm an authority because I'm too, on so many levels, exhibiting the same views of myself. The script isn't something that only true movie and media lovers will understand and like. For others, it's just three beautiful people in France talking and doing crap for ninety-something minutes. The Dreamers talks about incest, because for the people it talks about, it is one of the sexual relationships that have gone awry from the main course of socialization; it's not considered a norm, while it should be. Incest is just like any other physical bond. You see, the movie uses sexuality, and nudity as agents of vision, not pleasure, which fags of modern-day drama do. The Dreamers uses ordinary people in ordinary circumstances with extraordinary personalities. These personalities are not the tycoon, magnate ones; they're only commonly uncommon, if that makes any sense. The Dreamers elucidates what's the figment of my imagination (reality while I'm fully submerged into that phase) when I'm listening to Marriage of Figaro or Mozart in general. I'm stuck by the same gust of dreaming and Lego-making when I listen to him, or watch a sentimental movie (not just romance, I mean even Interstellar hit me pretty badly.) The Dreamers provides several links, connections, references, causations and correlations to movies, behave in certain ways reminiscent to those performed in the movies (that's when I started loving Eva Green. Still do.) Eva Green was out of all three, much better in reflecting the theme of the movie. The others just played their part I'd say. Verdict: Don't watch it if you're even a mild-philistine. You'll know if you're because all philistines don't know what philistine means. I know that was patronizing; I'm like that sometimes.

FedRev Set against the backdrop of the 1968 student riots in Paris, The Dreamers is a film of political and sexual awakening during a time when a spirit of revolution was in the air. Matthew is an American exchange student who meets two siblings, Theo and Isabelle, shortly after arriving in Paris. The trio bonds over a shared love for cinema, and the film is laced with numerous references to film classics and the French New Wave, making it in some ways a film about film. But it's also a film about revolution and breaking established social boundaries. Living in a large house while the sibling's parents are away, the three central characters engage in ideological struggle that reflects the social turmoil going on outside. Theo is a Maoist who supports the student's radical demonstrations while Matthew believes their efforts are futile. Simultaneously Matthew and Isabelle develop a sexual relationship that Theo must come to terms with. In the end, the varying ideologies of the characters come to a head and they are each forced to make a choice about the direction of their lives. The film is passionate and alive with a revolutionary spirit, and at the decisive moment, it upholds a radical approach. Michael Pitt, Eva Green, and Louis Garrel each turn in exceptional and brave performances in this film that is directed with subtly and nuance by Bernardo Bertolucci.