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“La rue est entree dans la chambre!” Isa exclaims. At the end of the film, with all three sleeping in a makeshift tent in the living room, just like the ones children make with blankets and sheets, reality comes crashing in. He has locked her out, and she can’t deal with it. As Isa screams and bangs on his bedroom door, begging to be let in, Theo turns up the music.
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Returning one night from a date, they find Theo in his room with a date of his own. By loving Isa, he creates a new space between the two. When Matthew enters their world, he unknowingly disrupts their imagined reality. They can do as they please and comment on art and war from the safe distance of their private wing. They live in their world, where they are the only two that matter. Isabelle and Theo are children, who refused to grow up. I think you prefer when the word “together” means not millions, but just two. “You two are like two halves of the same person,” says Matthew. Theo explains to Matthew that they are siamese twins, and are each a part of the other.
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However, their problem seems to be more one of codependance than of a sexual nature. Theo orchestrates Matthew’s sleeping with Isabelle, with him in the room, effectively participating in his sister’s losing her virginity. The relationship between Theo and Isabelle, brother and sister, borders on incestuous. This is where things get a little bit uncomfortable. “I can’t stop you, Isabelle purrs, I have no arms!” On several occasions, they play a game: as one acts out a scene from a film, the other two must guess the work, or pay the forfeit. Matthew has always wanted to make love to Venus de Milo. The three run through the pouring streets of Paris to a soundtrack of Bob Dylan. Bertolucci creates optic plays, such as Isabelle standing in a darkened doorway with long black gloves on, giving her the impression of lacking arms. The Dreamers preserves the playful spirit characteristic of the French New Wave throughout the film. And do you know what my very first words were? New York Herald Tribune! New York Herald Tribune! I entered this world on the Champs-Elysees, 1959. The three spend their time discussing art, politic and all things cinema.Their conversations revolve around debates such as who is greater, Chaplin or Keaton? Clapton or Hendrix? Can we beat the record set in Bande A Part and run through the Louvre more quickly than the characters in Godard’s film? They live their lives as a reenactment of classic cinema, with the scenes intercutting between their imitations and the original footage.
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When Theo and Isa invite Matthew, a wide eyed American student, to move in with them, they meet their match in terms of cinematic appreciation. Et demain matin je serais sobre, mais toi, tu sera toujours belle.īertolucci assembles an ode to the French New Wave in this movie about three cinephiles experiencing 1968 Paris. Actors: Louis Garrel (Theo), Michael Pitt (Matthew) & Eva Green (Isabelle) While the May 1968 Paris student riots-which eventually shut down most of the French government-are happening around them, the three friends develop a relationship unlike anything Matthew has ever experienced, or will ever encounter again. Matthew, an American exchange student, pursuing his education abroad in Paris, becomes friends with a French brother and sister duo, named Theo and Isabelle, who share a common love of the cinema. The tumultuous political landscape of Paris in 1968 serves as the backdrop for a tale about three young cineastes who are drawn together through their passion for film. A sexual threesome shakes their rapport, yet only the outside reality will break it up. 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. As film buffs they meet and 'adopt' modest, conservatively educated Californian student Matthew. 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. The tumultuous political landscape of Paris in 1968 serves as the backdrop for a tale about three young Paris, spring 1968.