The Science of Sleep

Michel Gondry, the visually creative giant behind some of MTV's most stylistically innovative music videos, and more recently the driving force behind his and script writer extraordinare Charlie Kaufman's brilliant Eternal Sunshine of the Spotless Mind, finally makes his solitary debut, choosing to write and direct this surrealist tale of dreams, reality, and the lines some people walk between them. Fans of the visual virtuoso must have been anticipating Gondry's official declaration as auteur for some time, having salivated for a decade now as this French director continually pushed the envelope for lucky musicians.

I'm sure many saw The Science of Sleep as a proving ground that would help fans see if the eccentric director would be able to parlay all of these visually creative aspects into a more cohesive, cinematic experience. By and large, the dangerously imaginative movie succeeds on it's own, though there are a few discrepancies to note. First, it does feel that much of the way the movie is shot, in particular the scenes which stay most grounded in reality, do mimic a lot of the production values that gave Eternal Sunshine such a realistically detached value to it. Ditto with much of the stream-of-consciousness script, at times heavily emulating the flow Gondry and Kaufman helped pioneer the first time around. The actual plot is decidedly low-key, and for good reason, though at times Gondry does struggle to fill all of his microcosms with relevance. To say these values remain derivative and do not completely complement the whimsically dark storytelling taking place here though, would be to forsake the fantastic and singular joy that the Science of Sleep is.

Regardless of it's constant French avant-garde noodling, and despite the obvious parallels to Gondry's previous film, Science remains a near-masterwork, punctuated by the intoxicating rhythm of it's perceptive dream sequences, often edited with the most keen of intentions. Whether viewers will stay immersed throughout the fantasy bleed-in will be up to ones subjective threshold, and ones ability to thrive off of the magically deranged pacing that hints at underlying psychological relevance. Gondry's masterful pacing does not disappoint, culminating with the brilliant evolution of the script's supremely playful tone into something much more serious.

Of course, the sincere material would only be at home when recited by actors of a pure heart, and in this Gondry also excels by casting two leads who do everything they can to involve us in the realist fantasy. Gael García Bernal, always doing well to pick good material, finally slips into an English language role with the ease I would expect, and the luminous yet subdued Charlotte Gainsbourg radiates the earthly kind of magic that this film is all about. People with strict objective agendas stay clear, anyone else who still uses an inkling of their imagination, please dive in. It may not be perfect, but Science is surely one of the most unique and perceptive fantasies to merge with the mass consciousness in years.

One of the most important things to note about this is that it is not meant to be a mainstream piece. If you like Charlie Kaufman and/or Michel Gondry(as I do, I love the latter's approach and style, and it is immensely evident here; Eternal Sunshine of the Spotless Mind is one of my favorite films), this is for you. No, there is little real plot. This is delving into the mind of the lead, and in doing so, exploring emotions(including complex, ambivalent ones) and his relationship with a woman. Ah, not just any, she may be the one. Shifting back and forth between imagination and reality, this is often intentionally disorienting about which we're seeing at that specific time. There is marvelous ambiguity in this. The visuals are amazing, creative, and always perfectly conveying the mood that they are supposed to. Excellent stop-motion animation. The actors(who all deliver impeccable performances) actually got to see what their realistically written(not all likable) and nicely fleshed out characters were meant to be seeing, so they could react to it, not merely "pretend it's there". This is in English with a bit of French and occasionally Spanish, and both are subtitled. The editing is spot-on. There is a little sexuality, infrequent strong language and brief male nudity in this. I recommend this to anyone who believes that this medium can be an artform. 8/10

This movie had a lot going for it. The art direction was incredibly fun and creative, and overall the movie looked great and had a very unique vision. It was cute and quirky and definitely made me laugh out loud at times while at other times it made me feel awkward and tense in the best possible way.

The dream sequences were fun and blended with reality in a very seamless and engaging way (though on a personal level I prefer the way dreams were portrayed in Waking Life). And while on the surface the love story was thoughtful and true (and I could even relate to it in some ways), the problem for me was that I just couldn't sympathize with Bernal's character, Stéphane. I couldn't really see where Gainsbourg's character, Stéphanie, was coming from either. While their interaction was at times endearing, I just didn't feel like I had to root for them. Still though, there was enough charm in this movie that that fact didn't ruin the movie for me.

I just saw this at the Sundance Film Festival and feel compelled to saw a few things about the flick. This movie is so insanely good and just plain insane at the same time. The movie follows Gael Garcia's character as he moves back to his mothers home in Paris and finds himself falling for the girl across the hall. Gael's character experiences reality through dreams and the present, creating all sorts of confusion. The movie has some of the most unique props and eccentric animation pieces I have ever seen, but would you expect anything less from Gondry (Eternal Sunshine..). This movie really can't be described in truth but holds so much potential for multiple viewings as its so full of life and visual wonders for the eyes. Gael Garcia is just perfect in this role and is fascinating in gesture and laugh out loud funny when the script allows. I think you should definitely look forward to seeing this movie when it gets a wide release, its funny, its art, its pleasure for the eyes and a puzzle for the mind.

THE SCIENCE OF SLEEP (Michael Gondry - France/Italy 2006).

There's something magical about this wonderfully sweet romantic fantasy by Michael Gondry. A love story, emotionally rich with dazzling dream-like visuals, done the old-fashioned way with simple stop-motion animation techniques. We see Stéphane flying above his cardboard imagination of Paris and later, we see him sitting in the bathtub full of silver cellophane. It's Gondry's first film as writer-director after a two-feature partnership with Philip Kaufman. Not surprisingly, it feels a bit Kaufmanesque, as Gondry's previous "Eternal Sunshine of the Spotless Mind", but now dreams have replaced memory.

Stéphane can hardly make the distinction between his own dreamworld and the outside reality and doesn't know a whole lot about love. For no apparent reason he lies to Stéphanie that he lives next door to her, which results in some comic situations. He also wants to be an inventor and so he gives her his 3-D glasses, 'but the world is already in 3-D', she replies. He is a man-child, unable to adjust himself to the everyday realities of the outside world.

Ultimately the relationship between Stéphane and Stéphanie ends in a kind of stalemate, and so does the film itself. How do you end a film? With most films I can't wait till it's over, but here it seemed like the last twenty minutes got lost in the editing room. A very abrupt ending. The film might have a bit of an unsatisfying resolution, but Gondry creates magic here. It's the dreamworld that makes this rise above the level of just another romantic comedy, and it's funny, very funny. The breathtaking stop-motion animation is a feast for the eye and the sets and creations are wonderful to look at. The film had me in a permanent smile.

Camera Obscura --- 8/10