The big question about “The Science of Sleep” is whether it actually accomplishes anything by the end or just bangs its head against the wall making the same point over and over again. At least this can be said: Whether one sees it as a quirky but subtly profound character study or an inconclusive and unnecessarily cryptic slice of life, there’s enough in the film to make it worthwhile thinking about an answer.
At stake is the rule of thumb that characters should undergo some sort of transformation by the end of their story. It’s a rule that applies even to stories driven by character more than plot; in fact, it applies much more to character studies than, say, action films. In “Before Sunset,” for example, we’re left with an unresolved ending. Yet it’s clear from Ethan and Claire’s conversations throughout the film that something has changed since the film’s beginning. But can the same be said of “The Science of Sleep”?
Meaningful or Just an Exercise?
Setting that question aside, writer/director Michel Gondry delivers a film with definite arthouse sensitivity. The multi-lingual dialogue, characterizations and situations all have that down-to-earth kind of naturalism that makes the film’s quirkiness all the funnier because it stems from the ordinary. And in some respects, the visual pizzazz Gondry brings to the film has a bit more spice than the generically impressive, computer-generated effects in the spiritually similar “Eternal Sunshine of the Spotless Mind.” Dream sequences are animated with a zany blend of cardboard cutouts, cellophane and other old-school arts and craft materials. Thanks to Gondry’s assured direction, they achieve a glorious, delightful, even innocent surrealism that doesn’t feel bloated with the irritating cleverness or gimmickry that dragged down fantastical films like “Mulholland Drive” and “Being John Malkovich.”
But even as it is compelling to watch the wonderful cast, which includes Alain Chabat as a harmless, world-weary lothario for whom Stéphane is an escape from the crushing boredom of office work, it’s inevitable that we return to that haunting question. After watching Stéphane and Stéphanie unintentionally hurt each other while desperately trying to connect, the overall point of the exercise remains elusive. Is “The Science of Sleep” a romance of sorts, in which the very possibility of romance between emotionally damaged people is questioned? Is it a tragic examination of the inability to make a real connection, whether due to destructive self-doubt and unintentional psychological sabotage or just plain emotional immaturity? The abrupt, vaguely unhelpful ending could be spun to justify any interpretation of whether Stéphane and Stéphanie come together or not and why. But this is more frustrating than endearing as it leaves the feeling that there’s some information about the characters that Gondry fails to share.
Yet the fact that there’s plenty to chew on, that this is a film liable to evoke discussion, suggests that “The Science of Sleep” straddles the line between interesting failure and cautious success. As dubious as that may sound, it gives the film a certain odd kind of appeal, and no regrets for having indulged the 105 minutes that make the film’s running time.
Entertainment Value: ** (out of two)
Technical Value: ** (out of two)
Warner Independent Pictures and Gaumont present a film written and directed by Michel Gondry. Starring Gael Garcia Bernals, Charlotte Gainsbourg and Alain Chabat. 105 minutes. Rated R (for language, some sexual content and nudity).
