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Dreamers The

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Strange beautiful grass of green...
with your majestic silver seas.
Your mysterious mountains I wish to see closer.
May I land my kinky machine.
The first time I ever saw a movie at the Cinematheque Franšaise...
I thought 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 hypnotised.
I was 20 years old. It was the late 60s.
I'd come to Paris for a year to study French.
Here I got my real education.
I became a member of what 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 do 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,
spectatorto spectator,
until, worn out, second-hand, the size of a postage stamp,
it returned to the projectionist's cabin.
Doctor, I'm not nuts, I'm here forthe paper!
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.
Obeying an obscure coalition of dubious interests,
the Minister Malraux has driven...
Henri Langlois out of French Cinematheque.
Chaillot 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 those who love film...
- In France. - And abroad.
- Are with you. - And with Henry Langlois!
Henri Langlois created the Cinematheque.
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.
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.
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. - What?
Can you remove my cigarette? It's stuck.
Yes, yes... Of course.
- 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 nevertalk to anyone.
- Why are you always alone? - I don't really know anybody.
- Why are you chained to the gates? - I'm not chained to the gates.
You're awfully clean.
For someone who likes the cinema so much.
Do you know Jacques?
If shit could shit, it would smell 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, just...
- give him a sniff. - Come on.
Truffaut, Godard, Chabrol, Rivette,
and Renoir, Jean Rouch, Rohmer are here.
Signoret, Jean Marais and God knows who else.
Marcel Carne too.
Why is Carne 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 Ray's.
- 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?
Stay with me! Quick!
- 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, about politics, about movies,
and why the French could never produce good rock bands...
- I'm starving. - I forgot the sandwiches.
I didn't want that night everto end.
Thank you.
- Didn't you bring anything? - No, I'm okay.
Please, eat. Don't mind me.
- No, I'm really not hungry. - I've broken it now. Take it.
- You're very kind, but... - Take it when you're offered it!
Thank you.
Theo. Don't you have something for Matthew?
- This is fine. - I gave him a third of mine.
I didn't come here to eat your sandwiches.
- He doesn't want it. - Yes, he does.
- He's just too polite to say he does. - You're both very kind.
Where are you from exactly?
San Diego.
What about you two? Were you both born in Paris?
I entered this world on the Champs-Elysees. 1959.
On the pavement.
- You know what my first words were? - No, what?
'New York Herald-Tribune.'
New York Herald-Tribune.
'New York Herald-Tribune.'
New York Herald-Tribune.
Will you come to Rome with me?
- Here, right here. Here! - No, there!
- Goodnight, Matthew. - Goodnight.
I was born...
in a trunk...
in the Prince's theatre...
in Pocatella...
I was born...
in a trunk...
in the...
Prince's theatre...
Dear mom:
I've got some real news this time.
I've just met my first French friends.
- Who is this? - Don't be suspicious. It's me.
- Theo? - Did I wake you up?
- I've been up for ages. - You don't sound like that.
I always sound like this in the morning.
I had to call early, I've a class at nine.
You want to have dinner tomorrow night with Isa and me?
A real dinner in a nice restaurant?
No, not in a restaurant. Here. At home.
Yeah, sure, that'd be great.
Yes? Okay.
Theo, get off the phone. It's 09:00.
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! - Third floor?
There's room in here for all of us.
Theo and I are contagious!
- We're very contagious. - Contagious?
You shouldn't catch us!
- It's beautiful. - You think so?
Good luck.
Evening, maman.
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.
- Very pleased to meet you. - 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?
I'm cooking fortwo 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...
Put a sock in it, you two!
I must apologise for my children's behaviour.
No, I'm the one who should be apologising.
Please don't put yourself out on account of me.
Very sweet of you, seeing as you're completely blameless.
Let me look at you.
I want you to make a good impression on papa.
Dad, it's me. We're eating in.
- And the cinematheque? - Closed until further notice.
Can't you see we have a guest? This is Matthew.
- Matthew. - Matthew's dining with us tonight.
My young Matthew. Inspiration is like a baby.
It does not choose a nice, seemly hourto enterthe world.
It has no consideration forthe 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.
Nothing, I was just...
You seem to be mesmerised...
by this tin lighter. I'd like to know why.
- Well? - George, Matthew's our guest.
I'm genuinely curious. I'd like to know why.
I was fidgeting with Isabelle's lighter.
I wasn't really realising it, and then I noticed and I 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'll show you.
That's when 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...
it fits there too.
But it fits there.
And it fits like this and like this.
And this way too.
And I bet you if I just split it in half...
you know it's gonna fit somewhere.
It really fits anywhere.
I was noticing that the more you look at everything...
this table, the objects on it, the refrigerator, this room...
your nose, the world...
you realise 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?
Chaos, isn't it?
Complete chaos.
Yet, viewed from above, as it were, by God,
everything suddenly fits together.
My children believe that their demonstrations and sit-ins,
and happenings...
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?
What I'm saying is that a little lucidity would not go amiss.
So, everyone's wrong but you?
In France, in Italy, Germany, America...
Before you can change the world,
you must realise you yourself are part of it.
You can't stand outside looking in.
You're the one who stands outside.
You're the one who 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, Theo, 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 and a poem is a petition.
Those are the most famous lines you ever wrote.
And now look at you.
- I hope I'll never become like him. - Theo.
We should say goodnight. We've got a long day tomorrow.
Yes, sorry. You were saying?
We should get to bed.
You had something to tell the children.
Yes, of course. I'm sorry.
The cheques are on the mantelpiece.
Don't cash them until you need them.
Good night, everybody.
Good night, papa. Have a safe journey.
Good night, dear.
- A very good night to you. - It was a pleasure meeting you, sir.
- Good night. - Good night.
- Very nice meeting you. - Thank you so much for dinner.
It's my pleasure. Invite Matthew to spend the night.
I don't like the sound of Hotel Malebranche.
Good night.
Why haven't you dazzled us with your philosophical speculations?
- I didn't know I was 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 nicerthan our own.
And yet, our own grandparents are always nicerthan other people's.
That's true, that's absolutely true.
I neverthought 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 okay? - Yeah, I'm okay.
Goodnight, Matthew.
Everybody's got a father.
But the fact that God doesn't exist,
doesn't mean he can take His place.
- Yeah, it's fine. - Goodnight.
- Goodnight. - See you in the morning.
See you. Thank...
Thank you.
I need a man to love me.
Oh, don't you understand me, babe?
I need a man to love.
I want me, someone to hold me when I...
call out for it.
Someone to be around me so I...
won't be afraid of it. 'Cos it...
Can't be now.
Can't be now.
Can't be now.
Can't be now.
Can't be just loneliness.
What the hell is wrong with me?
No, no, no, it just can't be...
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, up, up!
- What are you waiting for? - Isabelle, I'm not dressed.
What are you doing?
What are you doing?
'I've been memorising this room.'
'Ln the future, in my memory,
I shall live a great deal in this room.'
'Queen Christina', where Greta Garbo bids farewell to the room...
in which she spent the night with John Gilbert.
The bathroom's at the end of the corridor.
Be there in one minute, or we're coming back to get you.
Come in.
- Hello. - Good morning.
Are you going to church?
Oh, sorry. You want to use my toothbrush?
- Sure? - I'll use my finger.
- Sleep well? - Yeah.
- I mean, fine. - Yeah?
You know, Matthew...
you really do have the most beautiful pair of lips.
Can I touch them?
You wanna touch my lips?
They're so red and ripe...
and luscious.
So sullen...
Let's see what you look like with lipstick.
- I really should be going. - You'd make such a pretty girl.
Ignore her, Matthew. She sucks in all the air around her.
No, I really have to...
- be getting back to my hotel. - No, why?
We were going to invite you to stay.
- Really? - Sure.
Our parents have left.
They're going to be in Trouville for a month.
You might like to move yourthings here.
- Really? - Sure.
- But you barely even know me. - This way we get to know you.
You don't have to stay in a hotel, do you?
We'll go and pick up what you need with my mobylette.
- Come on. - But...
What about you?
It was my idea.
I'm going to check out the Cinematheque.
- 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.
Don't forget yourtoothbrush!
Dear mom: I guess you're surprised to be hearing from me so soon.
But I've just moved into an apartment...
belonging to a famous French author...
whose children are the same age as me and have the same interests.
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 machine,
and man as angel."
- Not bad, huh? - That's good.
Except for me, there's no comparison.
Why? Because Chaplin's incomparable?
Because Keaton is incomparable.
You think Keaton's greaterthan Chaplin?
- Absolutely I do. - You're not serious.
- Course I am. - You're crazy.
You can't deny that Keaton's funnierthan Chaplin.
I can.
You don't think that Keaton is funnierthan Chaplin?
Nobody is funnierthan Chaplin.
Keaton is. Even when he's not doing anything.
- And he looks like Godard. - Keaton is a real filmmaker.
Chaplin, all he cares about is his own performance...
- His own ego! - That is bullshit.
- It's not bullshit! - Yes, it is.
You Americans understand fuck all about your own culture.
No wonder you've never got the point ofJerry Lewis.
Don't even get me started on Jerry Lewis!
When Chaplin wanted to have a beautiful shot, he knew how.
Betterthan Keaton, betterthan anybody.
You rememberthe last shot of 'City Lights'?
He looks at the flower-girl,
she looks at him,
and don't forget she'd been blind, so she was seeing him...
forthe very first time.
And it's as if, through her eyes, we also see him forthe very first time.
Charlot, the most famous man in the world.
As if we've never seen him before.
Isa, if you play that fucking record again,
- I'll break it in two, okay? - But you like Janis Joplin.
Stop it!
I said stop it, Isabelle!
Stop! Stop!
Matthew, tell me, what film?
- What? - Name a film...
where someone tap-dancing drives someone else crazy.
Forfeit to pay if you can't answer.
- You'll pay the forfeit! - '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?
- 'Bande a 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 forthe right person to do it with.
- And I think you're finally it! - To do what?
Try to beat the record of 'Bande a Part'.
- What record? - You've seen 'Bande a Part'.
The scene where the three of them race through the Louvre.
They try to beat the world record of 9 minutes 45 seconds.
- Of course! - We're going to beat their record.
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, an alien.
If I get caught, I get deported.
- We're not going to get caught. - You don't know that.
They weren't caught in 'Bande a Part', we won't be caught either.
- It's a movie! - Go get papa's stopwatch.
It's a great idea, but...
- It's not... - This is a test.
Are you going to pass it or fail it?
Be careful. A lot depends on how you answer.
9 minutes and 28 seconds. We beat the record by 17 seconds!
We did it!
Matthew, my little Matthew. You were wonderful!
'We accept him. One of us.'
'We accept him. One of us.'
We accept him. One of us.
We accept him, we accept him.
Gooble gooble, gooble gooble.
'We accept him. One of us.'
One of us.
When your mother,
sends back all your invitations.
And your father...
to your sister...
he explains...
that you're tired of yourself...
and all of your creations,
won't you come see me...
Queen Jane?
Won't you come see me...
We accept you. One of us, one of us!
Now all of the flower-ladies want back what they have lent you.
That's Maman.
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.
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 wearthis.
I'm going to get a coke.
- Want one? - Okay.
There may be trouble ahead...
- Matthew! - Yeah?
- 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.
- The number of words in the title. - I said no.
- Isabelle! - No.
- The first letter of the first word. - God, you're pathetic.
Isn't he pathetic, Matthew?
- 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 know that.
If you insist.
I dare you to do now...
in front of us, what I've watched you do...
in front of her.
I don't know what you're talking about.
Oh yes, you do, my pet.
What a bitch you are.
A bitch and a sadist.
Are you going to pay the forfeit or not?
Very well.
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 don't you admit you were thrilled?
- What? - Weren't you just a bit excited?
- What're you trying to get me to say? - Nothing.
- I asked you a question. - You know who you sound like?
- Isabelle. - Why not? She's my twin sister.
- You two are twins? - Yes.
- She'd be me if she were a man. - You're not identical.
Yes, we are. We're Siamese twins.
Joined here.
You're a strange one, Theo.
Half an hour ago...
you looked at her as though you wanted to strangle her.
I did.
I don't understand you.
- Do you have brothers or sisters? - Two older sisters.
Didn't you ever want to strangle them?
Course I did, but I never masturbated in front of them, and...
they never forced me to do anything I never wanted to do.
Do you think Isabelle forced me?
Deep down, I knew things couldn't go on as before.
Now the stakes had been raised.
For a while, there was a kind of truce between Theo and Isabelle.
And then one evening...
- What film? - What film?
Name a film where a cross marks the spot of a murder.
Or pay the forfeit.
- You too, Matthew. - Me?
- What have I done? - Name a film or pay the forfeit.
- Time's up. - You didn't even give me a chance.
- The film? - 'Scarface.' Howard Hawks. 1932.
And the forfeit?
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 spunk.
- No offence, 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.
- Okay, all right! - Too late, too late!
You're hurting me. I'm not violent. I'm against violence.
- I'm not gonna resist, look. - So, shut up. Okay?
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.
That wasn't a friendly thing to do.
Especially when we've been so hospitable.
Okay, okay! I'm not resisting, I'm not resisting!
How sweet of you to keep my image next to your heart.
I didn't mean...
Come on! Wake up!
Come on, wake up!
No, I'm Theo.
Where's Isabelle?
You have to help me.
Oh my God!
That was the best one.
What about yesterday?
In papa's study.
You thought that was better?
Please, please, please.
- What? - Stay inside.
My love.
My first love.
My great love.
My great lover.
My Valentino. My funny Valentino.
I thought you had many lovers.
When I first saw you at the Cinematheque, 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? - Kitchen.
- I have to get something to eat. - Good luck.
- Want some honey? - No, thank you.
- Go on, it's good. - No.
- It's really, try some. - No.
- Just try a little bit... - No, thank you.
I want you to know that I'm grateful.
Remember what you told me in the cafe, about you and Isabelle?
You were right.
For me you two are...
like two halves of the same person.
And now you've made me feel like I'm a part of you.
Both of you.
Let's get something straight, okay?
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.
- You expect me to eat this muck? - You expected me to cook it.
- I preferto starve. - You will. There's nothing else.
Can I serve you?
The fondue orthe ratatouille?
Which is which?
This is fondue and this is ratatouille.
No. This is the fondue and this is the ratatouille.
The ratatouille.
That's fine.
Eat it as if you are in some exotic country...
and this is the national dish.
It looks like he's vomiting in reverse.
It's horrible, isn't it?
I'm sorry, I know you tried.
Thank you, I'm glad somebody appreciates my efforts.
- There's nothing in the house? - Nothing you'd want to eat.
- And we cashed all the cheques? - Yes.
- So what do we do now? - I'm going to call papa.
The phone is dead!
Illegitimate son of a rock and roll star.
Illegitimate son of a rock and roll star.
Mom met dad in the back of a rock and roll car.
What's all this?
It's lunch.
So, Isabelle, a fillet mignon?
- No. - No?
Matthew, would you like a rump steak?
Stop it. It's disgusting.
Oh, look.
What about this banana?
One banana forthree 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.
Hey, Theo!
- Okay? - Fine.
- Where were you the other night? - I couldn't make it.
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? - Get off my back. I can't explain now.
Theo, wait for me!
- A little souvenir from Nepal. - Thanks, that's sweet.
Call me.
Okay, with pleasure.
See you.
We hardly left the apartment any more.
We didn't know or care if it was day or night.
We were drifting out to sea, leaving the world far behind us.
- Too strong for you. - No, it 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! - Matthew, believe me.
- Clapton plugs in a guitar... - Okay, Jimi Hendrix is different...
He 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 all fucked up!
You're talking about soldiers in Vietnam?
- Yes. - What are they doing in Vietnam?
They're at war.
- What are they doing? - They're fighting.
- They are killing peasants. - 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?
- Shouldn't you be in Vietnam? - I don't believe in violence.
Where are you now? Shouldn't you be in Vietnam?
I'm lucky, I'm in a university.
I have friends who aren't in university...
and they're expendable.
- You're not lucky. - I am fucking lucky.
Do you think you can say to the Government:
'No, I'm against violence. I don't agree with your war.'
Maybe in France. In America you have to go.
If you don't go, you go to jail.
I preferto go in jail, instead of killing people.
You don't understand.
I read it in 'Cahiers de Cinema'.
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...
Iook away.
It makes films like crimes and...
directors like criminals.
Like it should be illegal.
There goes my chance to be a filmmaker.
My parents always left the bedroom door open.
You'll have to direct theatre, not cinema.
Come on!
My parents only fucked once in their life.
That's why we're twins. They didn't want to make it twice.
Hey Joe!
Where are you going with that gun in your hand?
Hey Joe!
Where are you going with that gun in your hand?
And hey Joe!
Where are you going with that gun in your hand?
I'm going down to shoot my old lady.
You know I found her messing around with another man.
I'm going down to shoot my old lady.
You know I found her messing around town.
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.
Oh, 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. - 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. - That's not right either.
You have to say it first.
We can't, you already said it first.
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 I'm doing?
- You're not serious? - Yes, I am.
Don't worry. It's an operation I've performed before.
- Relax, it grows back. - You're both fucking crazy!
- What's the matter? - This is what you call proof of love?
Turning me into a freak? 'One of us.'
- It's just a game. - 'One of us.'
It's just a game!
A game, Isabelle? A game? Think about it.
Is this something you do to each other?
You want me to be a little boy for you?
A little pre-pubescent Theo at six who you can play games with?
And you could touch peepee.
I'll show you mine, you show me yours!
- Just calm down. We hear you. - Theo, 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 are you so cruel?
- Because I love you. - A strange way of showing it.
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 otherthe way that you do.
- Have you ever been out on a date? - A date?
- Yeah, a date. - What kind of date?
- Have you ever been out with a boy? - With Theo.
Not Theo.
Have you ever been out with a boy, that you met at school?
I was nevertaken to a school prom.
- We don't have proms in France. - You have dates in France.
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.
You don't need his permission.
We can't sit in the front row, we have to sit at the back.
The front is for people who don't have dates.
Sorry. Excuse me.
On a date, you always sit at the back.
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 picture was photographed in the grandeur of cinemascope.
Pardon me.
Sorry I can't stay, but I have a train on tap.
All the best, Georgie.
You can't stand to hear me sing again, huh?
You know it isn't that.
You'll never know.
No, I know I won't be fooled.
When I'm being true.
But if you guess it,
I'll confess it.
Oh, darling, I would like to know.
Or perhaps you'll never...
No, no, you'll never...
Oh, no, you'll never...
ever know.
You'll never know.
When I looked at the TV screen,
I remembered the battle of the Cinematheque.
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, but...
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're purest.
Pure and hard.
- Let's go. - Yeah, but...
- What's wrong? - They're not mine.
- No, your room. - No.
In all the time I've been here, I haven't seen your room.
- You do have a room of your own? - Of course I have.
Don't think I always live in Theo's pigsty.
How come we never go in there?
No-one's making love on my bed.
It's your room, it's part of you, I wanna see it.
- Just tonight. - No, no, and no.
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 neighbours' houses, all alike,
with their green lawns and their sprinklers,
and their station wagons parked outside.
That you're dreaming of.
I know the word...
that you long to hear.
I know your deepest secret fear.
I'm a spy...
in the house of love.
I know the dream...
that you're dreaming of.
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.
Don't listen to it.
Don't cry, don't cry.
Please, leave me alone.
Leave me alone, please.
- Go away! - Isabelle!
- Isabelle! - Theo, open up!
- Theo! - Isabelle!
You're gonna hurt yourself!
- Who are you? - What are you talking about?
What are you doing in my room?
Get out! Get out!
Theo! Theo!
"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 such sweetness, affability, courtesy, restraint and generosity."
"A revolution is an uprising,
a violent act...
by which one class overthrows another."
"Chateau Lafite, 1955."
"Chateau Chasse Spleen, 1959."
"Grand vin, 1937." Happy Birthday, papa!
- Listen, Matthew. - Yes?
- You're a big movie buff, right? - Yes.
Then 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.
In this big epic movie,
everybody is an extra.
That gives me the creeps.
I'm sorry to say it, but...
for me there is a distinct contradiction.
if you really believed what you were saying, you'd be out there.
Out there on the street.
- I don't know what you mean. - Yes, you do.
There's something going on out there.
Something that feels like it 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.
No, tell me why.
Ask yourself why.
I don't think you believe it.
I think you buy the lamp, you put up the posters,
but it ain't...
- I don't think you... - Look, you speak too much.
Theo, just listen to me.
I think you prefer...
I think you prefer when...
when the word 'together' means not...
a million, but just two.
Boys, boys!
Isa, come and join us.
No, thank you. It stinks of whores here.
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 did this when we were little.
More wine?
Thank you.
God, your breath is foul.
- Oh, I'm sorry. - You're drunk.
Yeah, I am drunk.
And you are 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.
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 for ever, right?
- What's for ever? - The two of us.
- Why did Matthew say that? - What did Matthew say?
That we're monsters, freaks.
I just want you to tell me that it's for ever.
It's for ever.
- Isa... - You don't understand.
We'll talk about it in the morning.
I promise.
Good. We must leave now, darling.
Would you like to have dinner with them?
We must leave on tiptoe.
- What's happening? - The street came flying into the room!
- What? - The street came flying into the room!
- What's that smell? - It's tear-gas.
In the streets!
In the streets!
Go on!
In the streets!
In the streets!
In the streets!
In the streets!
In the streets!
In the streets!
In the streets!
This is just the start, the fight goes on!
I light it up and throw it on the right.
- Theo, this is wrong. - This is wonderful.
This is violence!
It's not violence. It's wonderful.
This is fucking Fascism in a fucking bottle!
- I'm no fascist! The cops are fascists! - And then police hit people.
Shut up!
- You do not understand! - This is wrong.
Listen to me. This is what they do.
This is not what we do. We use this. We do this.
We use this!
Stop it!
Isabelle. Isabelle.
Death to the cops!
This is just the start, the fight goes on!
This is just the start, the fight goes on!
DC Sniper 23 Days of Fear
D A R Y L 1985
Daddy Day Care
Daffy Duck - Drip Along Daffy (1951)
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Defiant Ones The
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