All language subtitles for The.Dreamers.2003.1080p.Explicit.BluRay.x265-RBG

The first time I ever saw a movie
at the Cinémathèque Française, I thought:

"Only the French. Only the French
would house a cinema inside a palace".

The movie was Sam Fuller's
Shock Corridor.

Its images were so powerful,
it was like being hypnotized.

I was 20 years old. It was the late 60s, and
I'd come to Paris for a year to study French.

But it was here that I got my real education.

I became a member of what in those days
was kind of a Freemasonry,

the Freemasonry of cinephiles.

What we'd call "film buffs".

I was one of the insatiables. The ones you'd
always find sitting closest to the screen.

Why did we sit so close?

Maybe it was because
we wanted to receive the images first,

when they were still new, still fresh.

Before they cleared
the hurdles of the rows behind us.

Before they had been relayed back
from row to row, spectator to spectator,

until, worn out, the size of a postage stamp,
they returned to the projectionist's cabin.

Maybe, too, the screen really was a screen.

It screened us from the world.

But there was one evening,
in the spring of 1968,

when the world
finally burst through the screen.

The pawn of an obscure coalition
of dubious interests,

the Minister Malraux has driven

Henri Langlois
out of the Cinémathèque Française.

It offered us all
a free and fair conception

of film culture.

Now, for bureaucratic reasons,
culture's arch enemies

have seized this bastion of liberty.

Resist them!

- Liberty isn't given!
- It's taken!

All who love film...

- in France...
- and abroad...

... are with you.

And with Henri Langlois!

It was Henri Langlois
who created the Cinémathèque,

because he liked to show movies instead of
letting them rot in some underground vault.

He'd show any movies,
good, bad, old, new.

Silents, Westerns, thrillers.

And all the New Wave filmmakers
came here to learn their craft.

This is where modern cinema was born.

What lies behind it:

The police!

Langlois had been sacked
by the government,

and it seemed like every film buff
in Paris had turned out in protest.

It was our very own cultural revolution.

Excuse me.

Can you remove this?

It's stuck to my lips.

Can you remove my cigarette? It's stuck.

Yes, yes...

Of course.

Sorry.

- What are you? English?
- No, I'm American.

You can put it out now.

- What's your name?
- Matthew.

You're here a lot.
But you never talk to anyone.

We've been wondering
why you're always alone.

I don't really know anybody.

- How come you're chained to the gates?
- I'm not chained to the gates.

- You're awfully clean.
- What?

For someone who likes the cinema so much.

- Do you know Jacques?
- Jacques?

If shit could shit,
it would smell just like Jacques.

My brother's gone to talk to him. When
he gets back, you'll smell Jacques on him.

It's like being around pigs.

- You speak English really well.
- What?

- You speak English really well.
- My mother's English.

- Here's Theo. When I introduce you, sniff.
- Come on.

Truffaut, Godard, Chabrol, Rivette,

and Renoir, Jean Rouch,
Rohmer are here.

Signoret, Jean Marais
and God knows who else.

Marcel Carné too.

Why is Carné here?

What should we do?
Stay or leave?

I don't know.

Theo.

This is Matthew.

- You were right - he's American.
- Hi.

I've seen you around. You've been
coming to all the Nicholas Rays.

Yeah. I really like his movies.

What? They Live by Night?

More like Johnny Guitar
and Rebel Without a Cause.

- You know what Godard wrote about him?
- No, what?

"Nicholas Ray is cinema".

- What's up with you?
- Me?

Come on, stick with me!

Fascists!

- Bastards!
- Assholes!

And that was how I first met
Theo and Isabelle.

I could hear my heart pounding.

I don't know if it was because
I'd just been chased by the police

or because I was already in love
with my new friends.

As we walked and talked, and talked,
and talked - about politics, about movies,

and why the French could never
produce a good rock band...

- I'm starving.
- I forgot the sandwiches.

... I didn't want that night ever to end.

- Didn't you bring anything?
- No, I'm OK. Please, eat. Don't mind me.

- No, I'm really not hungry.
- I've broken it now. Take it.

- You're very kind, but I don't...
- Take it when you're offered it.

Thank you.

- Theo.
- What?

- Don't you have something for Matthew?
- This is fine.

- I gave him a third of mine.
- OK.

I really... I didn't come here
to eat your sandwiches.

- He doesn't want it.
- Yes, he does.

- He's too polite to say he does, aren't you?
- You're both very kind.

So, where are you from exactly?

San Diego.

What about you two?
Were you both born in Paris?

I entered this world
on the Champs Elysées. 1959.

The pavement
of the Champs Elysées.

And you know
what my very first words were?

- No. What?
- "New York Herald Tribune".

Will you come to Rome with me?

Here. Right here. Here.

No, there!

- Good night, Matthew.
- Night.

Dear Mom,

I got some real news this time.

I've just met my first French friends.

Hello?

- Matthew?
- Who is this?

- Don't be so suspicious. It's me.
- Theo?

- Don't tell me I woke you up.
- No, I've been up for ages.

You don't sound as if
you've been up for ages.

I always sound like this in the morning.

Sorry, I have to call you early
because I've got a class at nine.

- Right.
- You want to have dinner tomorrow night?

You mean like a real dinner
in a nice restaurant?

No, no. Not in a restaurant. Here. At home.

Yeah. Sure, that would be great.

- Yes? OK. Why don't you...
- Please get off the phone. It's nine o'clock.

Yes, yes. Why don't you meet us
for a drink first? At the Respite.

Six o'clock. You know where it is?

- Boulevard Saint-Germain?
- Be there at six.

Third floor!

You know, there's room in here for all of us.

Theo and I are contagious.

- We are very contagious.
- Contagious?

You mustn't catch us.

- It's beautiful.
- You think so?

Good luck.

Evening, mother.

What are you doing here?

- We're here for dinner.
- What?

With Matthew.

- Didn't Isabelle say?
- Which Matthew?

This Matthew. He's our new friend.

- Matthew, this is my mother.
- Hi.

- Very pleased to meet you, Matthew.
- Likewise.

- You're American, are you?
- Yeah, I'm from California.

Matthew lives in a nasty student hotel.
Rue Malebranche. So we invited him to dinner.

What's wrong?

What can I say, Isabelle?
I'm cooking for two

and now there are five of us.

Didn't Theo tell you?

No, he didn't. And neither did you.

Have you got mashed potatoes
for brains or what?

- You were supposed to tell her!
- You're crazy!

Bitch, cow, slut...

For God's sake, put a sock in it, you two.

I must apologize
for my children's behavior, Matthew.

No, I'm the one who should be apologizing.

Please, don't put yourself out
on account of me.

That's sweet of you.
You're completely blameless.

Let me look at you.

OK. I want you to make
a good impression on Papa.

Papa, it's me.

We're eating in.

And the Cinémathèque?

Closed until further notice.

Papa!

Can't you see we have a guest?

This is Matthew.

- Sir.
- Matthew.

Matthew's dining with us tonight.

My young Matthew, inspiration is like a baby.

It does not choose a nice,
seemly hour to enter the world.

It has no consideration for the poor poet.

But when it does come,

when it deigns to come,
then you know it's...

Young man. I was speaking to you.
I imagined you were listening.

I was. I'm sorry.

What?

Nothing. I was... I was just...

You seem to be mesmerized
by this tin lighter. I'd like to know why.

- Well?
- George, please. Matthew's our guest.

No, I'm genuinely curious.
I'd like to know why.

I was just... I was fidgeting
with Isabelle's lighter.

I wasn't realizing it,
and I noticed and thought it was rude

so I put it down on the table.

But I put it diagonally across
one of these squares, do you see?

Look.

I noticed that the lighter's length is exactly
the same length as the diagonal itself.

So I put it lengthwise.

Along the outside edge. Look.

- It fits there too.
- Yeah.

But it fits there.

And it fits like this. And like this.

And this way, too.

I bet you if I just split it in half,

it's gotta fit somewhere.

I mean, it really fits anywhere. Look.

You see?

I was noticing that
the more you look at everything -

this table, the objects
on it, the refrigerator,

this room, your nose,

the world -

suddenly, you realize that

there's some sort of cosmic harmony

of shapes and sizes.

I was just wondering why.

I don't know why that is.

I know that it is.

You have an interesting friend here.

More interesting, I suspect, than you know.

I mean, when we look around us,
what is it we see?

Complete chaos.

Yet, viewed from above -

viewed, as it were, by God -

everything suddenly fits together.

My children believe that their demonstrations
and sit-ins and happenings...

Well, they believe that these possess
the capacity not only to provoke society,

but also to transform it.

What is it you are saying? If Langlois
is dismissed we shouldn't do anything?

If immigrants are deported, if students
are beaten up, we shouldn't do anything?

All I am saying is
that a little lucidity would not go amiss.

So everyone's wrong but you?

In France? In Italy? Germany? America?

Listen to me. Before you can change the
world, you must realize you are part of it.

You cannot stand outside, looking in.

You're the one who stands outside.

You refused to sign a petition
against the Vietnam war.

Poets don't sign petitions, they sign poems.

- A petition is a poem.
- Yes.

And a poem is a petition.
Thank you, but I'm not gaga yet.

I don't need you
to remind me of my own work.

That's right.

A petition is a poem,
a poem is a petition.

- Yes.
- The most famous lines you ever wrote.

Now look at you.

I hope I'll never be like him.

We should say good night, darling.
We've got a long day ahead of us tomorrow.

George.

Yes, sorry. You were saying?

We should get to bed.

You had something to tell
the children, didn't you?

Yes, of course.

I'm sorry.

The checks are on the mantelpiece.

Don't cash them until
you need them, all right?

Good night, everybody.

Good night, papa.
Have a safe journey.

Good night, dear.

Theo.

- A very good night to you, Matthew.
- It was a pleasure meeting you, sir.

- Very nice meeting you.
- You too. Thank you so much for dinner.

My pleasure.

Why don't you spend the night? I'm not sure
I like the sound of Hotel Malebranche.

Good night.

Why haven't you dazzled us with these
philosophical speculations of yours?

I didn't know I was being philosophical.

- Papa was awfully impressed.
- Papa's full of shit.

I think you're lucky.
I wish my parents were that nice.

Other people's parents
are always nicer than our own.

And yet our own grandparents
are always nicer than other people's.

You know, that's true.
That's absolutely true.

I never thought about
it before, but it's true.

Matthew, you're sweet.

This is double the length of...

I'm for bed.

Are you staying?

- Are you OK?
- Yeah, I'm OK.

Good night, Matthew.

Everybody's got a father.

Yes.

But the fact that God doesn't exist
doesn't mean he can take his place.

OK?

- Yeah, it's fine.
- Good night.

- Good night.
- See you in the morning.

See you. Thank...

Thank you.

Good morning.

What was that all about?

I was removing the sleep from your eyes.

Theo lets me do his every morning.

It's a strange thing to want to do.

Didn't you enjoy it?

- Was I supposed to?
- Naturally.

Up.

- What are you waiting for?
- Isabelle, I'm not dressed.

What are you doing?

- What are you doing?
- I've been memorizing this room.

In the future, in my memory,

I shall live a great deal in this room.

Queen Christina.

Where Garbo bids farewell to the room
in which she spent the night with Gilbert.

Bravo!

We have a private wing to ourselves.
The bathroom's at the end of the corridor.

If you aren't there in one minute,
we're coming back to get you.

Come in.

Good morning.

Are you going to church?

Oh, sorry. You want to use my toothbrush?

- No.
- Sure?

I'll use my finger.

- Sleep well?
- Yeah.

I mean, fine.

You know, Matthew, you really do
have the most beautiful pair of lips.

Can I touch them?

You wanna touch my lips?

OK.

They're so red,

and ripe

and luscious.

So sullen.

Brutal.

Let's see what you'd
look like with lipstick.

I should go.

- You'd make such a pretty girl.
- Ignore her, Matthew.

She sucks in all
the air around her.

I really have to be
getting back to my hotel.

No. Why?
We were going to invite you to stay.

- Really?
- Sure.

Our parents are going to be
in Trouville for a month.

We thought you might like
to move your things here.

- Really?
- Sure.

But you just met me two days ago.
You barely even know me.

This way we get to know you.
Do you have to stay in the hotel?

- No.
- We'll go and pick up what you need. OK?

Come on.

What about you?

It was my idea.

You're scaring me right now.

Jesus.

Jesus.

I'm going to check out
the Cinémathèque, just in case.

- OK.
- Don't take too long.

Don't worry. I won't.
I don't have much stuff.

With us, you're not
going to need much.

Just don't forget your toothbrush.

Dear Mom, I guess you're surprised to be
hearing from me so soon after my last letter,

but I've just moved into an apartment
belonging to a famous French author.

His children are the same age as me
and have the same interests.

I know how pleased you'll be to hear
I'm getting in with the right kind of people.

Say hello to Father.
I hope he's not still mad at me...

Listen to this, Matthew.

"The difference between Keaton and Chaplin
is the difference between prose and poetry,

between the aristocrat and the tramp,
between eccentricity and mysticism,

between man as a machine
and man as angel".

Not bad, huh?

That's good. Except, for me,
there's no comparison.

Why? Because Chaplin's incomparable?

No. Because Keaton is incomparable.

Keaton? You think Keaton's
greater than Chaplin?

- Absolutely, I do.
- You're not serious.

- Course I am.
- You're crazy.

Come on. You can't deny
that Keaton's funnier than Chaplin.

- Yes, I can.
- You don't find Keaton funnier than Chaplin?

I don't think anyone's funnier than Chaplin.

Keaton is. Even when he's
not doing anything he's funny.

And he looks like Godard.
Keaton is a real filmmaker.

Chaplin - all he cares about
is his own performance, his own ego.

- Bullshit.
- It's not bullshit.

Yes, it is. Sometimes I think you Americans
understand fuck all about your own culture.

- No wonder you never got Jerry Lewis.
- Don't even get me started on Jerry Lewis.

Listen, Matthew. When Chaplin wanted
to have a beautiful shot, he knew how.

Better than Keaton. Better than anybody.

You remember the last shot
of City Lights?

He looks at the flower girl, she looks at him.

And don't forget she's been blind,
so she was seeing him for the very first time.

And it's as if, through her eyes,
we also see him for the very first time.

Charlie Chaplin, Charlot,
the most famous man in the world,

and it's as if
we've never really seen him before.

Isa, if you play that fucking record again,
I'll break it in two. OK?

But you like Janis Joplin.

Stop it.

I said stop it, Isabelle.

Stop!

- Matthew, tell me - what film?
- What?

Name a film where someone tap-dancing
drives someone else crazy.

- I know this.
- Forfeit if you can't answer.

- Quick, quick or you'll pay the forfeit.
- Top Hat. Top Hat.

Fred Astaire is dancing
over Ginger Rogers' room.

And she's mad because he wakes her up.

I'm right.

He's good.

You thinking what I'm thinking?

What?

Bande à part.

You're right.

Why are you two looking at me like that?

Well,

you see, my little Matthew,

there's something Theo and I
have been meaning to do for a long time,

but we've been waiting
for the right person to do it with.

- And I think you're finally it.
- To do what?

- Try to beat the record of Bande à part.
- What record?

- You've seen Bande à part?
- Yeah.

- Where they race through the Louvre?
- Remind me.

To beat the world record
of nine minutes and 45 seconds.

- Oh, yeah. Of course.
- We're going to beat their record.

- What?
- What's the matter?

- Nothing, really.
- Not afraid, are you?

- No. I'm not afraid.
- What, then?

It's easy for you two. I'm an American,
what you French call an "alien".

- So?
- So if I get caught, I get deported.

Don't worry, little man.
We're not going to get caught.

- You don't know that.
- They weren't caught in Bande à part.

- If we beat the record, we won't be caught.
- It's a movie.

Go get Papa's stopwatch. Come on.

- It's a great idea...
- Matthew, this is a test.

Are you going to pass it or fail it?

Be careful.

A lot depends on how you answer.

Nine minutes and 28 seconds.
We beat the record by 17 seconds.

Matthew. My little Matthew.

You were wonderful.

We accept him. One of us.

We accept him. One of us.

One of us. We accept her, we accept her.

We accept him. One of us.

One of us.

We accept you. One of us.
One of us. One of us. One of us. One of us.

That's Mother.

I'm too wet to answer.

Isa's smart, but she doesn't know
how to deal with parents.

- What do you mean?
- I mean, it's not enough to ignore them.

They should all be arrested. Put on trial.

Confess their crimes.

Sent to the country
for self-criticism and re-education.

- They're already in the country.
- They are at the seaside.

That's different.

Too bad.

My parents never go anywhere.

At least you have the house to yourselves.

Where are you going?

- I gotta get out of these clothes.
- It'll be cold in your room. Come into mine.

You can wear this.

Thanks.

I'm going to get a Coca.

- Want one?
- OK.

- Could you open the door? My hands are full.
- Just a second.

- Why didn't you open the door?
- I was...

I was dressing.

What film?

In what film does
a chorus line dance like this

with a singer in a fur coat?

- I've seen this film?
- We saw it together.

We did? Give me a clue.

- Certainly not.
- Come on. Be a sport. The director's name.

No.

- Number of words in the title?
- I said no.

The first letter of the first word.

God. You're pathetic.

Isn't he pathetic?
Don't you think he's pathetic?

- Matthew, I bet you know.
- Don't you dare help him.

Did the Sphinx give Oedipus a clue?

Fuck you.

Give up?

- Blonde Venus.
- Shit...

Marlene Dietrich. 1932.

I knew that.

- Forfeit.
- If you insist.

I dare you to do now,

in front of us,
what I have watched you do in front of her.

Who?

- I don't know what you're talking about.
- Oh, yes, you do, my pet.

Forfeit.

What a bitch you are. A bitch and a sadist.

Are you going to pay the forfeit or not?

Very well.

I want you to do it the way you did it
when you thought no one was watching.

Let's have a drink. I'll meet you downstairs.

Why won't you admit you were thrilled?
Come on, you can tell me.

What?

- Weren't you just a tiny bit excited?
- What is it you're trying to get me to say?

Nothing. I asked you a question.

- I suppose you know who you sound like.
- Who?

- Isabelle.
- Why not? She's my twin sister.

- You two are twins?
- Yes. She'd be me if she were a man.

- That's crap. You're not identical.
- Yes, we are. We're Siamese twins.

Joined here.

You're a strange one, Theo.

Half an hour ago, I saw you look at her
as though you wanted to strangle her.

I did.

- I don't understand you.
- Don't you have brothers or sisters?

- I have two older sisters.
- Didn't you ever want to strangle them?

Course I did, but I never masturbated
in front of them, and I never...

They never forced me
to do anything I never wanted to do.

You think Isabelle forced me, do you?

Deep down,
I knew things couldn't go on as before.

Now the stakes had been raised.

But, for a while at
least, there did seem to

be a kind of truce
between Theo and Isabelle.

And then, one evening...

- What film?
- What film?

Name the film where a cross
marks the spot of a murder or pay the forfeit.

- You too, Matthew.
- Me?

What have I done?

Name the film or pay the forfeit.

- Time's up.
- Time's up? You didn't give me a chance.

- The film?
- Scarface. Howard Hawks.

1932.

And the forfeit?

Well,

as you know, Isabelle, I'm not a sadist.

I just want to see everyone happy.
No one left out.

So,

I'd like you

and Matthew

to make love in front of me.

But not in here. I don't fancy sleeping
in someone else's revolting spunk.

- No offense, Matthew.
- Where?

In the spare room. In front of the Delacroix.

Maybe one reproduction will inspire another.

- I won't do it.
- You won't do it?

- You wouldn't.
- Matthew isn't my type.

I need to go to the bathroom.

This is silly.

Come out of there.

OK. All right.

- Look...
- Too late.

You're hurting me. I don't...
I'm not violent. I'm against violence.

- I'm not gonna resist - look.
- So shut up.

You know, Matthew,
you aren't being very gallant.

Is the prospect
of making love to me so hateful?

I've seen you. I saw you in bed together.

Our guest has been spying on us.

Now, that wasn't
a friendly thing to do, Matthew.

Especially when we've been so hospitable.

I'm not resisting.

How sweet of you, Matthew,
to keep my image next to your heart.

I didn't...

Come on. Wake up.

Come on. Wake up.

Isabelle?

No. I'm Theo.

Where is Isabelle?

You have to help me.

Sorry.

That was the best one.

What about yesterday?

In Papa's study.

You thought that was better?

Please, please, please, please.

- What?
- Stay inside.

Matthew.

My love.

My first love.

My great love.

My great lover.

My Valentino.

My funny Valentino

You know, I thought you had many lovers.

When I first saw you at the Cinémathèque -

you and Theo -

you looked so cool.

So sophisticated.

Like a movie star.

I was.

I was acting, Matthew.

How did you and...

How did you and Theo...

come together the way that you are?

Theo and me?

It was love at first sight.

But he's never been inside you?

He's always inside me.

What would you do...

What would you do
if your parents found out?

- It must never happen.
- Yeah, I know, but...

what if it did?

It must never, never happen.

I understand that,
but let's say that it did happen.

What would you...

What would you do?

I would kill myself.

- Where are you going?
- The kitchen. I have to get something to eat.

Good luck.

- Want some honey?
- No, thank you.

- It's good.
- No.

- It's really good. Try some.
- No.

- Just try a little bit. It's really...
- No. Thank you.

I want you to know that I'm grateful.

Grateful?

Remember what you told me in the café,
about you and Isabelle?

You were right.

You know, for me, you two are...

you're like two halves of the same person.

Now you've made me feel
like I'm a part of you.

Both of you.

Let's get something straight, OK?

You're a nice boy and I like you a lot,

but no,

it wasn't always meant to be the three of us.

I told you something else, remember?

That Isa and I are Siamese twins.

I wasn't joking.

What's this?

That, my dear brother, is a cheese fondue

accompanied by a compote
of broccoli and prunes.

- And this?
- That's ratatouille.

- And you expect me to eat this muck?
- You expected me to cook it.

- I prefer to starve.
- You will. There's nothing else in the house.

Matthew?

Can I serve you?

The fondue or the ratatouille?

Which is which?

This is fondue, and this is ratatouille.

No. This is the fondue,
and this is the ratatouille.

The ratatouille.

Ratatouille.

That's fine.

Eat it as if you were in some
exotic country you've never visited,

and this is the national dish.

It looks like he's vomiting in reverse.

It's horrible, isn't it?

I'm sorry, Isabelle. I know you tried.

Thank you, Matthew.
I'm glad somebody appreciates my efforts.

- There is nothing in the house?
- Nothing you'd want to eat.

- And we cashed all the checks?
- Yes.

- So what do we do now?
- I'm going to call Papa.

The phone is dead.

What's all this?

It's lunch.

A filet mignon?

Would you like a rump steak?

Stop it. It's disgusting.

Look.

What about this banana?

- One banana for three of us?
- Yes.

I'm starving.

Let me see it.

- Why?
- Just let me see it.

- What are you doing?
- Just watch.

Matthew, you never cease to surprise.

- OK?
- Fine.

- Where were you the other night?
- I couldn't make it. Sorry.

What's up? We hardly see you now.

- We can't count on you.
- Stop pissing me off.

You're not with us anymore.

I am, but it's complicated.

Why?

Because! Get off my back.
I can't explain now.

Loser.

Wait for me.

A little souvenir from Nepal.

Thanks, that's sweet.

Call me.

OK, with pleasure.

See you.

We hardly left the apartment anymore.
We didn't care if it was day or night.

It felt as if we were drifting out to sea,
leaving the world far behind us.

- Too strong for you?
- That was really good.

- Good?
- Yeah.

- Again?
- No.

Clapton is God, Matthew.

I don't believe in God, but if I did,
he would be a black, left-handed guitarist.

This is not Chaplin and Keaton.
This is Clapton and Hendrix.

Clapton reinvented the electric guitar.

- Clapton reinvented the guitar.
- Believe me.

Clapton plugs in an electric guitar
and he plays it like an acoustic guitar.

Hendrix plugs in an electric guitar,
he plays with his teeth.

There are soldiers in the Vietnam war
right now. Who are they listening to?

Clapton? No.

They're listening to Hendrix.
The guy who tells the truth.

- It's fucked up. It's all fucked up.
- You're talking about soldiers in Vietnam?

- What are they doing in Vietnam?
- They're at war.

- What are they doing?
- They're fighting.

They're killing farmers!

They're dying, too.

They're killing children,
they're burning fields!

They wanna be there?
They wanna die and they wanna kill people?

- Shouldn't you be in Vietnam? Right now?
- I don't believe in violence.

Where are you?
Shouldn't you be in Vietnam now?

I'm lucky. I'm in a university.

I have friends who aren't in university,
and they're expendable.

They're expendable. I am fucking lucky.

They want to be at war.

Do you think you can
say to the government,

"I'm against violence,
I don't agree with war"?

Maybe in France. In America, you have to go.

If you don't go, you go to jail.

- How can you judge?
- I prefer to go in jail.

Instead of killing people, Matthew.
I prefer to go in jail, yeah.

I read it in Cahiers du cinéma.

A filmmaker is like a Peeping Tom.

A voyeur.

It's as if the camera is...

the keyhole to your parents' bedroom.

And you spy on them, and you're disgusting,

and you feel guilty,

but you can't look away.

It makes films like crimes
and directors like criminals.

It should be illegal.

- There goes my chance to be a filmmaker.
- Why?

My parents always
left the bedroom door open.

You'll have to direct theater, not cinema.

Maybe.

My parents only fucked once in their life.

That's why we're twins.
They didn't want to make it twice.

Don't be alarmed, Matthew.

It's good news.

It only happens once a month.

- I love you, Isabelle.
- I love you, too, Matthew.

Yeah, but I really love you.

And I really, really love you, too.
We both do, don't we, Theo?

Yeah.

That's not what I wanted you to say.

What do you want us to say?

I wanted you to say you love me.

- We just did, Matthew.
- No, you said you love me too.

I don't want you to say that you love me too,
I want you to say that you love me.

We love you, we love you, we love you.

That's not right, either.
You have to say it first.

We can't, Matthew. You already said it first.

Why is that?
Why am I always the first to say it?

Poor Matthew.

We do love you very much.

I don't want to be loved very much.
I want to be loved.

You know, when someone wants it

there's no such thing as love.
There are only proofs of love.

Are you ready to give us a proof of your love?

You want proof of my love?

Get out of the bath.

Shaving cream...

- Razor...
- Thanks.

- What are you doing?
- What do you think?

- You're not serious?
- Yes, I am.

Nothing to worry about.
It's an operation I've performed before.

- Relax. It grows back.
- You're both fucking crazy.

- What's the matter?
- You call this "proof of love"?

Turning me into a freak?
"One of us, one of us".

It's just a game. It's just a game.

A game, Isabelle? Game? Think about it.

Think about it.
Is this something you do to each other?

You wanna shave my pubic hair?
Want me to be a little boy for you?

A pre-pubescent Theo at six who you can
play games with and you can touch pee-pee.

- I'll show you mine. You show me yours.
- Just calm down. We hear you.

Think about it. Think.

You sleep in the same bed together.
Every night.

You bathe together,
you pee in the john together.

You play these little games.

I wish you could step out of yourselves
and just look.

Why? Why are you so cruel?

- Because I love you.
- You have a strange way of showing it.

No, I really love you. Both of you.

And I admire you.

And I look at you,
and I listen to you, and I think:

"You're never gonna grow".
You won't grow like this. You won't.

Not as long as you keep clinging
to each other the way that you do.

- Isabelle, have you ever been on a date?
- A date?

- Yeah, a date.
- What kind of date?

- Have you ever been out with a boy?
- I've been out with Theo.

Not Theo.

Have you ever been out
with a boy from school that you liked?

I was never taken to a school prom,
if that's what you mean.

- I'm afraid we don't have proms in France.
- You have dates in France, Isabelle.

Come on. Have you ever been out with a boy?

Why do you keep asking me that?
You know I haven't.

Would you like to?

- Is this an invitation?
- It's an invitation.

Would you like to go out on a date with me?
Just the two of us.

Don't look at Theo.

Isabelle, you don't need his permission.

No. We can't sit at the front.
We have to sit at the back.

The front is for people who don't have dates.

We're on a... Sorry. Excuse me.

On a date, you always sit at the back.
People sit at the back so they can make out.

Ladies and gentlemen,

the motion picture you are about to see
is a story of music.

I play the role of Tom Miller, an agent,

a small-time theatrical agent
who had been a...

Well, you'll see.

This motion picture was photographed
in the grandeur of CinemaScope,

and...

Pardon me.

Sorry I can't stay, but I have a train on tap.

All the best, Georgie.

Can't stand to hear me sing again?

You know it isn't that.

When I looked at the TV screen
I remembered the battle of the Cinémathèque.

Except this time
the demonstrators weren't film buffs.

They weren't even just students any longer.

It was hard to figure out what was happening.
It looked like shops had closed their doors,

factories had gone on strike,
and it was beginning to spread all over Paris.

We're willing to consider

all legitimate demands.

Theo and I never watch television.
We are purists.

The purest of the pure.

- Let's go.
- Yeah, but...

Jesus.

- What's wrong?
- They're not mine.

- No. Your room.
- No.

I don't know how long I've been here,
but in all that time I haven't seen your room.

- You do have a room, right?
- Yeah, of course I have.

You don't think I always
live in Theo's pigsty?

How come we never go in there?

No. No-one's making love on my bed.

- Please.
- No.

It's your room. It's part of you.
I wanna see it. Just tonight.

I discovered a side of Isabelle
I'd never seen before.

A secret side she hadn't wanted me to see.

I suddenly thought of
my sisters' bedrooms in San Diego.

I thought of our house and our neighbors'
houses, all alike with their green lawns,

and their sprinklers, and their station wagons
parked outside the garage door.

What sculpture?

I always wanted to make love
to the Venus de Milo.

I can't stop you. I've got no arms.

I can't stop you.

What's wrong? What's wrong?

Don't. Don't.

Don't listen to it.

Don't cry.

Please, leave me alone.
Leave me alone. Please.

Please.

- Go away!
- Isabelle.

Theo, open up!

You're gonna hurt yourself. It's OK.

- Who are you?
- What? What are you talking about?

- What are you doing in my room?
- What do you mean...

Get out! Get out!

A revolution isn't a gala dinner.

It cannot be created
like a book, a drawing or a tapestry.

It cannot unfold with such elegance,
tranquility and delicacy

or with sweetness, affability, courtesy,

restraint and generosity.

A revolution is an uprising,

a violent act

by which one class
overthrows another.

Château Lafite, 1955...

Château Chasse-Spleen, 1959...

Grand vin, 1937.
Happy birthday, papa.

Again?

Listen, Matthew.

You're a big movie buff, right?

Then why don't you think of Mao
as a great director,

making a movie with a cast of millions?

All those millions of Red Guards
marching together into the future

with the Little Red Book in their hands.

Books, not guns.

Culture,

not violence.

Can't you see what a beautiful,
epic movie that would make?

I guess, but it's easy to say
"books, not guns".

But it's not true. It's not books, it's book.

A book. Just one book.

- Shut up. You sound just like my father.
- No. Listen to me.

The Red Guards that you admire,

they all carry the same book,

they all sing the same songs,
they all parrot the same slogans.

So, in this big, epic movie,

everybody is an extra.

That's scary to me. That gives me the creeps.

I'm sorry to say it,
but for me there is a distinct contradiction.

Why?

Because if you really believed
what you were saying, you'd be out there.

Where?

- Out there, on the street.
- I don't know what you mean.

Yes, you do. Something's going on out there.
Something that could be really important.

Something that feels like
things could change. Even I get that.

But you're not out there.
You're inside with me,

drinking expensive wine, talking about film,

talking about Maoism. Why?

- That's enough.
- Why?

- That's enough.
- Ask yourself why.

Because I don't think you really believe it.
I think you buy the lamp,

and you put up the posters, but it ain't...

- I don't think you...
- Look, you speak too much.

Theo, just listen to me. Listen to me.

I think you prefer...

I think you prefer when the...

when the word "together"
means not "a million", just "two".

Boys, boys.

Or "three".

- Come and join us.
- No, thank you, my sweet.

It smells like a whorehouse.

Thanks a lot.

I've got a surprise for you. In the salon.

I'm getting right in.

- It's beautiful.
- Come on. Get in.

We used to do this
when we were little.

More wine?

Thank you.

God, your breath is foul.

- I'm sorry.
- You're drunk.

Yes, I'm drunk.

And you're beautiful.

And tomorrow morning,
I'll be sober

but you'll still be beautiful.

Go to sleep, Matthew.

Is it time to sleep?

Idiot.

You can hardly keep
your eyes open.

Night-night.

Wake up.

What is it?

I want you to listen.

- Why?
- Because.

I love you. You know that?

I love you too.

You love me too? That's funny.

Are you listening?

It's forever, right?

What's forever?

The two of us.

- Right?
- Yes.

Why did Matthew say that?

What did Matthew say?

That we're monsters, freaks.

I just want you to tell me
that it's forever.

It's forever.

You don't understand.

We'll talk about it in the morning.

I promise.

- Good. We must leave now, darling.
- Already?

What would you like?
To have dinner with them?

We must leave on tiptoe.

What's happening?

- The street came flying into the room!
- What?

- What's that smell?
- It's tear gas.

Hit the streets!

Go!

Go on!

Hit the streets!

This is just the start,
the fight goes on!

Theo, this is wrong. This is wrong.

- This is wonderful, Matthew.
- This is violence.

It's not violence. Come with me.

This is fucking fascism in a fucking bottle.

I'm no fascist! The cops are fascists!

- Yeah, and police hit people.
- Shut up!

You can't understand. Leave me be!

Listen to me for a second, OK?
This is what they do. This is not what we do.

We use this. We do this.
We use this. We use this.

Stop it!