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Undescribable Perfection

The Age of Commercialism

It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Yo, there's no way for me to review this film without saying, take your *insert ethnicity + "ass" here* to see this film,like now. You have to see it in order to know what you're really messing with.

Oh, boy, I wish I was a student at that time ( or any time) in Paris and I find someone with such a great apartment and that they happen to be beautiful! Only I would change the film thing with paintings or sculptures as The Venus of Milo was shown by Isabelle. And, that scene - when she enters/stands at the door was great! Very memorable.In fact, this film is full of very memorable scenes. And when I say that, I do not even think about incest scenes. One of them is when they find a photo under his penis! Oh my god ... that was ...something! I read FAQ here where they say that the role of Mathew was intended for Leonardo Di Caprio. I don't think that I would be ready to see Leo's penis up close and personal like this ! Hahaha.Must say that 'the French touch' to this film was great. All three main roles were really convincing. Props for them being naked on several occasions and that was so natural ...I am not really familiar with the background story or riots and protests. I am sure they have a meaning, but to me it was completely unnecessary for the film.Seven from me.

Two words it could describe this movie: "Beautifully Shocking".The film is constantly moving between opposite poles, as is normal in youth, which is displayed as it is: tough, wild, contradictory ..... and beautiful.The events occurred in the Paris of 1968, where glamor and intellectualism went hand in hand. That was a time of change in which culture was still strong enough to get people out to the streets to demonstrate. Beyond all this, Bertolucci focuses on how young people are discovering each other, with a capacity of wonder, freshness, intelligence, ingenuity, sensuality that adults usually do not have.  The movie has that unmistakable flavor of the experience of youth which leaves its mark and is never forget.9,5/10

The Dreamers, a name to signify that the dreams are different from reality. Agreed well and also that this movie is cohesive cozy and captive film making (for....). But I wonder the need.The movie is a complete alternative of p*rn but still the director has descended it in the mainstream cinema. Well and good for the crew. Now many prestigious critics and portals praised the film for its great cinematic and directorial technicality, which anyone can do if he understand the technicality. But the thought that captures me is what was the point of making something different.Whenever one wishes to say 'hello' he will usually wave his hand or shake but what if he says 'hello' with one hand over 'his @' and other hand making a puppet face of any animal like a Deer. The thing is why wasn't some other alternative script chosen as a theme for the actual moral. This film depicts extremely filthy sections of a dirty mind which I think has lost its creativity. Whenever something different is to be done, being a responsible artist, it should be done in such a way that it can elevate the mental virtues and ideas of the viewer rather than just hypnotizing him in fantasy of life and logics too.Can't judge the film myself, didn't appreciate the movie at all, but just wonder. This film is a or may be a fine example that how Wasted(Demon) things can have Useful(Blinding) effect on the Brain(an Artificial Stuff) which can justify anything which it enjoys.

Against a backdrop of the 1968 student riots in Paris Matthew, a young American student obsessed with movies, hooks up with a brother and sister,Theo and Isabelle, the twin offspring of a celebrated poet, who share his passion. The friendship rapidly becomes deep and disturbing; the twins seemingly enjoying an incestuous relationship and Theo a bi-sexual disposition towards their new friend. But all is not quite as it appears. These seemingly sophisticated intellectuals live in a bizarre enclosed little world of their own, indulged by wealthy parents and more child-like than the American first assumes. In a film that is bursting with movie in-jokes and references,the trio join in protests at the Cinemateque, replicate the 'Louvre record' from BANDE A PARTE in a scene inter-cut with shots from the original movie and develop a parlour game of "Name the film or pay the forfeit" ,that soon stretches the bounds of taste and decency, once the parents have left for the country.The trio spend most of their time in the large rambling apartment, which begins as charmingly shabby-chic and descends into student-squat squalor, indulging in ever more lurid sexually charged games. Nudity increases as they become insular and the world outside becomes more distant in a way that evokes a cult film of this era,PERFORMANCE. But THE DREAMERS, being a 21st century film,goes further and among several intimate and unsettling scenes that many might find offensive, the trio take a candle-lit bath in a haze of 'exotic cigarette' smoke which lulls them into unconsciousness, to find on awakening that Isabelle has started her menstruation while they have been asleep...and the bathwater has turned red.If the subject matter is an acquired taste then without doubt the film looks wonderful. Paris in 1968 is lovingly recreated; the cars and backgrounds are right, the music includes Jimi Hendrix, Janis Joplin and Bob Dylan, there is much talk of Mao and revolution. The acting is very good, naturalistic and engaging. The leading trio all fit their rolls to perfection and Eva Green as the pretty, pouting, full-busted,long haired Isabelle is the perfect image (cliche?)of a freethinking 1960s femme fatale. THE DREAMERS is a significant movie for me. Watching it for the first time I became intrigued by the homage it paid to Jean-Luc Godard's BANDE A PART, a film of which I previously knew nothing. I sought out the DVD, was entranced by this great movie(and Anna Karina in particular!)and have been hooked on French New Wave movies ever since. Re-watching it two years later I 'get' more of the filmic references, the haunting use of the theme from PIERROT LE FOU and the cameo of Jean-Pierre Leaud among others, but most of all I am struck by how intimate and graphic the relationships are portrayed. Not an easy film to like at times and not a film for all tastes but a brilliant one nonetheless.