.... wacky and tacky fantasy film.
The Science of Sleep (2006)
Tomatometer
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Reviews Counted:152
Fresh:105
Rotten:47
Average Rating:6.6/10
Consensus: Lovely and diffuse, Sleep isn't as immediately absorbing as Gondry's previous work, but its messy beauty is its own reward.
Runtime: 1 hr 46 mins
Genre: Dramas
US 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
Reviews for The Science of Sleep
The backloading of the film's intelligence isn't sufficient reward for having made it through 100 minutes of capricious indulgence.
As for Bernal and Gainsbourg, they sell their unconventional romance convincingly. And in support, French character actor Alain Chabat steals a couple of scenes as Stephane's piggish co-worker.
The most strikingly original film to hit movie screens this year -- or practically any other year for that matter.
Maybe Gondry should have put more science in his fantasy of unrequited love, because little about it feels grounded in anything real ... Like most dreams, you're liable to forget about it in the morning.
Even the most experimental moviegoers, though, may wish for more of a story than what's provided.
I doubt any other movie of 2006 will inspire as many walkouts as The Science of Sleep, a declaration which in itself should function as a no-holds-barred recommendation for those seeking something unusual in their moviegoing diet.
If cinematic weirdness is your bread and butter, The Science of Sleep is a feast for the imagination and a triumph of creativity.
Really nothing more than a phantasmagorical reworking of The Secret Life of Walter Mitty using lots of tacky effects and goofy imagery.
Michel Gondry is to visual art as Van Gogh is to post-impressionism; vivid bold and fearless, the seam of reality is present but you're never quite sure where they will lead your emotions, while taking an established artform to a different level.
The Science of Sleep doesn't tell a story so much as it unravels. A journey through a young man's dreams and desires, it's at once lyrical, strange, and resistant to interpretation.
As was famously said, we'll always have Paris. Very few, even the makers of Amelie, have Paris quite like Gondry.
Gondry fails to come up with a story to support his visual whimsy. But his flights of fancy are intriguing on their own, and his two lead actors captivate throughout.
[Stephane's] merely one more guy with a Peter Pan issues, which doesn't quite rise to the level of tragedy, much as Gondry wants to suffuse the third act with sadness.
The movie plays like an exhausted hallucination, disjointed and frustrating, much of it owing to the lack of chemistry Gondry allows between his stars.
The result is a portrait of your brain on imagination and joy. It's not rocket science, but it would be hard to dream up a more satisfying experience.
This may be the cinema's most sustained depiction of a dream state. But after the first five minutes you can’t tell if what we're seeing is really happening or just another of Stephane's REM moments.
In the end, after your time with it, you'll recall it with a smile, remembering its childish wonderment and mischievous sense of humor.
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