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This is a fantastic movie for cinephiles, and if you didn't know it was directed by Bertolucci you would think it was the work of some young turk eager to impress. The references to movies of the past are many, and it is to Bertolucci's credit that he gives a nod to some of the great directors of the French Nouvelle Vague, Truffaut and Godard in particular. The movie begins with the protests over the sacking of the head of the Cinemateque, and there is Jean-Pierre Leaud playing himself but 35 years later. You are introduced to the eternal love triangle Truffaut was so fond of in movies like Jules et Jim and Silken Skin. The three main characters - Matthew, the American, is De Caprio, Theo is Belmondo and Isabelle is Anna Karina. The story revolves around the inability of Theo and Isabelle to break away from their incestuous relationship, excused by, they say, the fact that they were conjoined twins. You are left asking whether they are, Bertolucci continuously alludes to the matching marks on their upper arms, or to the fact that they do not appear to be. Theo and Isabelle are truelly dislikable, vain and self-obsessed, and as Matthew is increasingly drawn into their world you pity him for his inability to stand up against their pompous self-importance instilled in them by their parents liberal intellectualism. Including the clips of movies is as much for the name-that-movie parlour game addicts as is including the sixties sound track, but they do strengthen the direction the movie follows as all three characters main point of reference is movie history. Excellent little vignettes concerning such things as who is the greatest clown? Chaplin or Keaton, are included. And Theo's assertion that the Chinese revolution is just like a movie is shot down in flames by Matthew - these soldiers have but one book and seem to be nothing more than extras on a film set. The sex, although fairly strong, is never gratuitous, and is seen more as a way for Isabelle to break free from the relationship she has with her brother. The ersatz revolutionary Theo plays out the revolution in his head while drinking red wine and talking movies. In the end Matthew begins to see him and Isabelle for what they really are, vainglorious do-nothings. When Matthew argues with them that violence is not the way forward as they man the baracades, Isabelle has to choose between the two of them, and chooses her brother, yet you are still left with the feeling that this is merely a badge of honour for the pseudo communists.

Whiffs of Band a Part, Les Enfants Terrible, even Repulsion are there. This is a fantastic movie, and all credit to Bertolucci for giving us an insight into the movies and time that made him the director he was and is.

THE DREAMERS (3 outta 5 stars) Interesting project by the renowned director Bernardo Bertolucci... dealing with the events of 1968 in France... a time of great social upheaval, as rioting students took to the streets to shut down the French government. The main characters are a young American student who has come to France to study film... and a very unconventional brother and sister who recruit him to their offbeat lifestyle. All three are obsessed by film (as many young people were in 1968... the glory days of the avant garde)... and also with the concept of breaking rules and societal taboos. With their parents away for the month and the flat to themselves, bets are made on film trivia and the penalties for not identifying a particular moment from a particular film become more and more shocking. Only leaving their home to watch films, the trio are basically oblivious to the growing trouble in the streets... until finally they can sit passively no more. Very intriguing concept and the acting is fine... but ultimately I thought the conclusion fell a little flat... the transition from sexual hedonism to political activism didn't really work for me... it all seemed a little abrupt and could have been explored a little deeper. Worth watching and discussing though.

'The Dreamers' is Bernardo Bertolucci's bizarre and fascinating (if not altogether successful) distillation of the radical '60's mentality. Since the film is set in Paris in 1968, the radicalism naturally takes the form of perverted sexuality and extreme cinephilia. Leave it to the French to be exploring l'amour in all its myriad possibilities!

In terms of plotting, 'The Dreamers' is much like an incestuous version of Truffaut's menage a trois classic 'Jules and Jim,' with the new film's subject matter as shocking today as was the earlier film's in its own time. Time and culture sure do march on, and it always seems to be the French leading the way. In 'The Dreamers,' Isabelle (Eva Green) and Theo (Louis Garrel) are twins who have developed a rather 'unnatural' attraction to one another, becoming 'one' in virtually every way imaginable - physically, spiritually, psychically. Matthew (Michael Pitt, who looks for all the world like Leonardo Di Caprio) is the young American in Paris whom they pull into their strange little world of sexual intrigue and emotional games. Matthew is a product of his time, a young man who is not very experienced in the ways of the world but who is willing to partake in the moral relativism that is permeating the culture. Thus, he becomes the perfect candidate for Isabelle and Theo to work their magic on. Their power of attraction proves overwhelming and irresistible for Matthew, for they are both exotically beautiful creatures, seemingly in tune with the trendy radicalism swirling around them. Yet, Mathew eventually discovers that they are really only passive observers paying little but lip service to the cause, too obsessed with their own twisted relationship to actually step out and participate in those grand social movements they talk so freely about. Isabelle and Theo are 'radicals' to be sure, yet their radicalism seems to be channeled in a self-destructive, ultimately futile direction. Only over time does Matthew awaken to this realization.

Due to the extremely sensitive nature of the subject matter, Bertolucci often seems more interested in shocking than enlightening us. Isabelle, Theo and Matthew are so insulated and cut off from the outside world that the points Bertolucci seemingly wants to make about the times - as reflected in protesters marching in the streets, the references to Vietnam, Mao and Jimmy Hendrix - feel tacked on and superfluous, not particularly integral to the film as a whole. He is never quite able to bring these background elements and the foreground story together in any meaningful way. What Bertolucci does capture well is the obsessive love the French have always had for the cinema as both entertainment and art form. His characters live, breathe and think films, often acting out favorite scenes while the director intercuts snippets from the movies themselves. The beautiful thing about the French is that they have always had such an eclectic taste in film, embracing both American studio and French New Wave products with equal passion. And this artistic open-mindedness Bertolucci captures with gleeful abandon. The film, in many ways, becomes an homage to Chaplin and Keaton, Astaire and Rogers, Samuel Fuller, Truffaut, Godard, Greta Garbo and many other icons of movie history.

'The Dreamers' doesn't entirely hold together and the sum of its parts is better than the whole. Still, the acting is excellent and Bertolucci has lost none of his skills as a director, making each beautifully composed shot stand for something - a real treat for audiences bored to tears by the kind of by-the-numbers film-making we get so often today. Bertolucci is a true film artist and it is a joy just to sit and watch what he does with his actors and his camera, like a master painter working wonders with his canvas.

As for the much-vaunted sexual content of the film (it is rated NC-17), certainly those who are easily offended by nudity and provocative sexual themes had best avoid subjecting themselves to this film. Those, however, with a more open mind will find little that is overtly offensive about what is shown here. In fact, if Isabelle and Theo weren't brother and sister, there would be little controversy at all generated by the film. My suspicion is that Bertolucci and writer Gilbert Adair made their film about incest because an ordinary love triangle would have seemed just too commonplace in this day and age to serve as a successful plot device for a film whose very theme centers around radicalism. They really needed to shake the audience up and this was as effective a way as any to do that. Whether it repels more people than it compels is something only time will tell.

As it is, 'The Dreamers' is not an entirely successful film, but those impressed by fine film-making had best not pass it up.

Matthew is a young american student in france, his passion for movies leads him into Theo and Isabelle, two twins that shares his passion, they quickly build a deep friendship and Matthew gets invited to stay with them while their parents are gone. However once he gets settled with them he discovers sides of both that he had not expected. While they spend their time talking and playing, the riots of Paris 1968 goes on in the "real world".

This is a very brave film in the way it has been build, but it is also a complicated movie that will leave you both confused and thinking, it's beautiful and it can almost be described as cinematic poetry, however this poetry also makes it a difficult one to relate too.

After seeing this film i am confused in what i feel about it, the movie feels very divided, and some times it is an extraordinary brave and experimental film, other times it is confuing, and at some times boring too. It's really a hard movie to understand because of the poetic feeling it gives, it's like reading a poem where some of the lines doesn't make sense, but i guess that could be an advantage as it can be seen more than once. I feel the strength of the movie is the way it challenges and explores like no american or typical mainstream movie would do, the often use of nudity and raw sex scenes would never be seen elsewhere, and even though it may annoy many people, Bertolucci portrays the scenes very beautiful and they never seem like dirty scenes, the most impressive scene is the one where Matthew and Isabelle have sex, never have a full sex scene been portrayed in such a beautiful and realistic way on screen. And there are many examples of this.

What brings the movie is first of all the very slow storyline, it barely moves at all, the whole 2 hours are pretty much circulating around one thing, which is the way these 3 youngsters spend their sparetime, it's an mysterious movie that really brings up interesting situations a lot of times, but other times it simply gets too slow and gets a little boring. Another partly negative thing is the understanding of the movie, as I earlier mentioned the movie is like a poem, if you have problems with a few lines the whole deeper meaning may fall apart. I wouldn't say i did not understand the fully deeper meaning of the movie, but i think each individual will understand this movie differently, due to the complex way it has been made. But i honestly think Bertolucci wanted it to be like that, a movie that will leave you thinking about many things, but i think what it really is about is finding yourself in a world where there are 6 billion people looking like you on the outside.

The movie is very well directed, a solid directing and you can clearly see the trademarks of the director, one thing i noticed was the floating camera. The floating camera gives a feeling of being there, it is mostly used in the first part of the movie where Matthew learns more about his mysterious new friends, it gives us a feeling of curiousity towards these two new persons. Two persons whom we soon discover have more to them than showing on the outside.

The acting in the movie is solid. I usually don't expect much from new and coming actors and actresses that i have not heard about before, this was also the case for this movie. But the acting is really good, Michael Pitt and Louis Garrel really gives an above average performance, great to see that there are still new actors who can take over when the old ones will be gone. But the star of this movie is Eva Green, what a mysteriously and unique performance, and what a brilliant casting, she is unique, beautiful and most importantly interesting, erotic and challenging. Also i give props to all the three main characters for their brave and realistic portray of nudity and the complications of sex among unexperienced youngsters.

As i said earlier this movie is very complex, it's hard to understand, and i could probably talk about it forever, but i got to stop somewhere. I think the movie is definetely worth watching, it's very artistic and does indeed stand on its own feet, it takes chances you don't see many movies take, and it's all done very well. On the negative side i think the movie sometimes get too complex and slow, but overall i don't regret seeing it, and i think that i will be seeing it again due to the complex story, it will probably bring me new thoughts when i see it next time.

6/10

The decor for The Dreamers, Bertolucci's sensual and narcotic film is represented by effervescent moments that took place in Paris in 1968. In the same manner in which the house inhabited by the three main protagonists represents a character, so do the Parisian streets, with their trepidation and demonstrations. Contrary to other films directed by this director - who has promised much and delivered even more throughout his career - The Dreamers opens in a fast-paced and provocative manner. The director establishes the cinematic convention precisely, eloquently, and elegantly. It becomes clear that the film deals with furious and beautiful young people who live through the films they devour. In the first five minutes, the heroine of the picture (played impeccably by Eva Green, a theatre actress reminiscent of Isabella Rossellini) announces that she was born in 1959. Logically, it is impossible, seeing that the year is 1968 and she seems to be at least 19 years old. Therefore, she explains further: 1959, Champs-Elysee, where she yelled "New York Herald Tribune!" Suddenly the film cuts to a scene from the classic Breathless (A bout de soufflé) by Godard, where Belmondo's feminine partner sells American newspapers on Champs-Elysee. Consequently, Bertolucci's feminine character believes that she has not been alive until seeing the afore-mentioned film, considered by many the beginning of the New Wave. The idea of interposing images and references to classic films is augmented in The Dreamers. It becomes a means of communication between the characters and in fact it ignites the entire "action" of the film.

As in The Last Tango in Paris or Stealing Beauty, sex and sensuality also represent means of expression on which the director relies heavily. Yet The Dreamers rejects the desperation of The Last Tango through a seductive irreverence that indeed characterizes the so-called "enfants terrible" of 1968 Paris. It should be noted that The Dreamers contains various sexual and nude scenes, but that these are by no means as shocking as the sex scenes in The Last Tango were, when that film was released in the 1960s. Since then, video and Internet pornography have occurred and shocking audiences through nudity has become something of a moot point. It is only the MPAA that hasn't grown up. It gave The Dreamers basically the same rating that The Last Tango got, 30 years ago.

Undoubtedly, the angles of the shots in The Dreamers are what impresses the most. As in other films by Bertolucci, practically every shot could be cut out and studied hours at an end for its elegance. The three main characters (all played beyond reproach) live their menage-a-trois through concrete gestures and attitudes, as well as through emotions that are suggested by the sublime cinematography.

The ending of the film, considered by some critics a weak point, is in fact quite accomplished. American viewers (including some critics) are used to American films, in which the build-up leading to the climax is essentially dynamic, suspenseful or tragic. But the European cinema is different. It often shows how feelings are condensed in a quiet but explosive mixture. This description fits The Dreamers like a glove.

Finally, a note for film buffs. In the initial scenes, at the demonstration in front of the Cinematheque, Bertolucci used news reel footage from the '60s with Jean-Pierre Leaud si Jean-Pierre Kalfon (known actors of the New Wave). They are seen giving speeches and throwing paper leaflets to the crowd. In 2003, when shooting the film, Bertolucci got Leaud and Kalfon, now aged, to "reenact" the images from the news reels. The end result is a mixture of new and old images, the former in color, the latter black and white. It is such tricks that Bertolucci uses throughout this nostalgic film that celebrates a certain period, during which the young generation had more meaningful things to fight than computer-simulated monsters.