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The Science of Sleep (2006)
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Reviews Counted:32
Fresh:22
Rotten:10
Average Rating:6.5/10
Consensus: Lovely and diffuse, Sleep isn't as immediately absorbing as Gondry's previous work, but its messy beauty is its own reward.
Rated: R [See Full Rating] for language, some sexual content and nudity
Runtime: 1 hr 46 mins
Genre: Dramas
Theatrical Release:Sep 22, 2006 Limited
Box Office: $4,572,038
Synopsis: For his first non-documentary film after 2004's ETERNAL SUNSHINE OF THE SPOTLESS MIND, French writer/director Michel Gondry applies his highly inventive cinematic vision to THE SCIENCE OF SLEEP.... For his first non-documentary film after 2004's ETERNAL SUNSHINE OF THE SPOTLESS MIND, French writer/director Michel Gondry applies his highly inventive cinematic vision to THE SCIENCE OF SLEEP. Largely set in the very active subconscious mind of Stephane (Gael Garcia Bernal), the movie bounces back and forth between his vivid dreams and mundane real life, which involves living in a Parisian apartment owned by his mother (Miou-Miou) and working at an office with a strange crew of characters, including the crass Guy (Alain Chabat). When Stephane meets Stephanie, a shy neighbor from next door (played by Charlotte Gainsbourg, the daughter of Gallic crooner Serge Gainsbourg and British singer/actress Jane Birkin), the two form an unusual friendship, one that may or may not lead to romance. Even more than ETERNAL SUNSHINE, THE SCIENCE OF SLEEP is marked by Gondry's whimsical-yet-melancholy aesthetic (honed working on videos by Bjork, the White Stripes, and others), which makes heavy use of stop-motion animation and other playful visual tricks. While the former film was rooted in its American setting (Long Island, NY), SLEEP is a thoroughly European affair steeped in its French setting, with the eccentric Stephane (a transplant from Mexico) alternating between speaking (and even dreaming) in English, French, and Spanish. Although its occasionally over-the-top quirkiness may baffle some viewers, SLEEP's unpredictable and engagingly odd sense of storytelling is sure to intrigue fans of other indie classics such as AMELIE and PUNCH-DRUNK LOVE. [More]
Starring: Gael Garcia Bernal, Charlotte Gainsbourg, Miou-Miou, Alain Chabat
Starring: Gael Garcia Bernal, Charlotte Gainsbourg, Miou-Miou, Alain Chabat, Pierre Vaneck, Sacha Bourdo
Director: Michel Gondry
Director: Michel Gondry
Screenwriter: Michel Gondry
Composer: Jean Michel Bernard
Studio: Warner Independent
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Reviews for The Science of Sleep
In the end, after your time with it, you'll recall it with a smile, remembering its childish wonderment and mischievous sense of humor.
It's all very cosmopolitan (the dialogue is English, French and Spanish), very independent, a wee bit juvenile and very confusing, of course. But The Science of Sleep is also remarkably magical and desperately romantic beneath it all.
The whimsy Gondry whips up soon goes wispy as we wait in vain for all this sweet-natured silliness to reveal a meaning that isn't transparently obvious.
Gondry's creative breeze of a movie is fun while it lasts, and that's more than you can say about a whole lot of movies.
This determinedly nonlinear filmmaking tells the story more accurately than cinéma vérité ever could.
[Gondry's] passion for cinematic invention is giddy and palpable, with the rudimentary charms of fellow Frenchman and turn-of-the-century filmmaker Georges Melies.
I loved Science, but in its final minutes I felt that I had a one-way ticket to a cul-de-sac. The scenery is something, though.
Pouring every impulse, inspiration and outlandish image at hand into his project, [Gondry] creates a dream world as visually delightful as it is merrily illogical.
It's a tonic to see a film, however uneven, obsessed with the question of what young love is, exactly, while detailing the stupid stuff that makes people act like jerks over someone.
An exceedingly fanciful film that's both more provocative and less successful than the Carrey piece.
The Science of Sleep is an interesting visual experiment that tries really hard to be something unique, but it just spins its flashy wheels and eventually goes nowhere.
While this is obviously inspired stuff, and while Gondry's cardboard-and-scissors, pop-primitivist sensibilities result in some fetching hand-carved wonders, the movie itself is as oblivious and hermetic as its love struck, fantasy-prone hero.
Science may be a little too out there for people used to linear movies. The story doesn't make much sense, but it's not supposed to any more than a dream does.
The movie does have a dreamlike quality. But it's like one of those dreams where you're late for work and you can't find your shoes.
[Gondry] understands the bittersweet pleasures of unrequited love, how love unattained is always love untainted. Possibility perpetually exists. Dream logic? Perhaps.
It remains a testament to the triumphant nature of Gondry's imagination that reality in this movie feels less real than the fantasies. You're encouraged to mistake one for the other. In some circles, that's called cinema.
It is captivating, but confusing and a bit scattershot, like a patchwork quilt of idle thoughts, fantasies and reveries.
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