By Penny Theodorakopoulou,
The Dreamers (2003) by Bernardo Bertolucci is a poetic meditation on cinema, revolution, and the euphoric freedom of self-discovery, and it is more than just a movie about teenage hedonism. The film examines the bounds of desire, the relationship between art and politics, and the inevitable conflict between dream and reality, all set against the backdrop of the 1968 Paris student riots. Through the experiences of its three main characters —Théo, Isabelle, and Matthew— Bertolucci creates a story that is as much about a historical period of tremendous change as it is about personal awakenings.
Cinema as a sanctuary and a catalyst
The movie starts with Matthew, an American student in Paris, who discovers the Cinémathèque Française, the center of the city’s film culture, thanks to his passion for movies. Under Henri Langlois’ direction, this establishment served as a sanctuary for young thinkers and a location where film was valued as an art form with the power to transform people’s perspectives. Protests are sparked by the French government’s abrupt firing of Langlois, hinting at the impending political upheaval.
For Matthew, movies serve as a prism through which he views the world, not just a source of amusement. His friendship with the mysterious twins, Isabelle and Théo, who are also movie buffs, is built on their mutual love of movies. As if film were a religion, they push the boundaries and test their knowledge by reenacting well-known movie scenes. Their abode turns into a solitary realm, a surreal haven where reality and art coexist. By providing a space where his characters can reside outside of accepted social conventions, Bertolucci uses this setting to emphasize how cinema impacts perception, nostalgia, and identity.
The politics of youth and rebellion
The real Paris is on the verge of revolution, but Isabelle and Théo are enmeshed in their own little universe. The historical backdrop of the movie is the 1968 student riots, a movement motivated by a rejection of repressive authority and antiquated systems. Theo is a vocal Marxist who says he is dedicated to bringing about a political revolution, but his activities are limited to the opulent apartment his family owns. Théo appreciates the radical rhetoric but is afraid to enter the streets where genuine change is taking place, exposing the contrast between ideological enthusiasm and active participation.
Matthew, the outsider, questions this detachment, subtly challenging Théo’s authenticity. While Théo argues that revolution should be absolute, Matthew suggests that true rebellion requires more than rhetoric — it demands action. This ideological clash reflects a broader theme in the film: the difference between intellectualized idealism and genuine commitment. Bertolucci uses the siblings’ aristocratic upbringing to suggest that, for some, radicalism is merely an aesthetic, a performance rather than a cause.
Desire, freedom, and the boundaries of intimacy
The Dreamers’ examination of intimacy, both physical and emotional, is at its core. Isabelle and Théo’s connection creates an uncomfortable yet profoundly symbolic dynamic by obfuscating the distinction between romantic commitment and familial devotion. They are protected from the outer world, their relationship nearly umbilical, and they live in a state of stopped development. This delicate equilibrium is upset when Matthew enters their life, bringing with him both an outside viewpoint and a different kind of love.
The trio’s increasingly provocative games —testing limits, pushing boundaries— serve as metaphors for self-exploration and the pursuit of identity. Matthew, at first a passive observer, becomes entangled in the siblings’ complex world, discovering both freedom and discomfort in their uninhibited existence. His presence forces Isabelle and Théo to confront their own dependency on each other, challenging their idealized perception of their isolated utopia.
Instead of using sexuality as a tool for simple provocation, Bertolucci uses it to show the characters’ quest for identity and purpose. The flat, which at first seems like a utopia of youthful pleasure and creative purity, grows more cramped, reflecting how unbridled freedom may turn into a kind of captivity.
The illusion of eternal youth
The idea that youth and its liberties are limitless is one of The Dreamers’ central themes. The foundation of the trio’s world is the implicit conviction that their perfect life may continue forever, untouched by the passing of time and change. Beyond their walls, however, the world continues to move. The student revolution is gaining momentum. Waiting is reality in all its unyielding might.
The protagonists must decide whether to accept the uncertainties of the actual world or stay secure in their dreams when the outer world eventually and violently bursts through. Isabelle makes a last, desperate effort to maintain the illusion after resisting any departure from her self-contained reality for a long time. Ultimately, though, even she must accept that change is unavoidable.
Dreams vs. Reality: The final awakening
The Dreamers makes its most significant remark in its concluding minutes. Théo eventually ventures outside as the demonstrations reach their zenith, having transformed from a passive observer of the revolution into an active participant. But Matthew understands that this is not his time; he has been a guest in this world, a dreamer who has seen a reality that is not his own. He leaves with a sense of realization rather than defeat since he realizes that staying would mean living in someone else’s fantasy rather than creating his own.
The viewer is left with the sad realization by Bertolucci that the period of unbridled freedom and youthful idealism is short-lived. Although it is a lovely, euphoric dream, the world’s realities must finally take precedence. The Dreamers is about all of us —our passions, our delusions, and the inevitable time when we must wake up— not just three young people living in a Paris flat.
References
- The Dreamers – Movie Review. steemit. Available here
- Nostalgia for the past: The Dreamers as a conservative fantasy. timbouwhuis.nl. Available here
- Bernardo Bertolucci’s Dream. learningandcreativity.com. Available here
- The Dreamers Movie Review. Rolling Stone. Available here
- ‘The Dreamers’: On Youth, Film, and Illusion. film0cred.com. Available here
