Science of Sleep

Stéphane Miroux, played by Gael García Bernal, is a shy and insecure young man whose vivid dreams and imagination often interfere with his ability to interact with reality. After the death of his divorced father in Mexico, Stéphane agrees to come to Paris to live closer to his widowed mother Christine. Shortly after he is coaxed back to his childhood home, his mother finds him a job in a calendar printing company in France. Stéphane prepares his colourful drawings after being told by his mother that the position at the new job is a creative role. Stéphane’s colourful drawings each consist of a disaster, for his newest invention: a “disasterology” calendar”. However, nobody at his new job appreciates his talents and it transpires that his mother had led him on – the real vacancy is for nothing more than mundane typesetting work, leaving Stéphane at an uncreative and colorless new job.

While leaving his apartment to go to work one day, Stéphane offers help to his neighbor moving a piano into her apartment. Due to lack of strength and masculinity, Stéphane injures his hand. The new neighbor, Stéphanie, played by Charlotte Gainsbourg, invites Stéphane into her apartment (unaware that he lives next door) where her friend Zoé tends to his wound. While getting his hand taken care of, Stéphane initially forms an attraction to Zoé, though he suspects it is instead Stéphanie who likes him.

Soon, Stéphane realizes that Stéphanie, like him, is creative and artistic. They plan a project for use in a short animated film. Following the advice of Guy, Stéphane’s sex-obsessed co-worker played by Alain Chabat, Stéphane pretends that he isn’t Stéphanie’s neighbor, pretending to leave the building when he leaves her apartment. Later that night, when he is sleepwalking he writes a confusing note to Stéphanie that asks for Zoé’s phone number. Soon after Stéphane wakes back into consciousness, he realizes his mistake and quickly comes up with a plan to retrieve the note. He finds his best option and retrieves the letter with a coat hanger, unaware that Stéphanie has already read the note.

As the story begins to unfold, surrealistic and naturalistic elements begin to overlap within Stéphane’s reality, and the viewer is often uncertain of which portions constitute reality and which are merely dreams. One such sequence, in which Stéphane dreams his hands become absurdly giant, was inspired by a recurring nightmare director Michel Gondry had as a child. As this line gradually becomes more blurred, Stéphane becomes more enamoured with Stéphanie the more he spends time with her and shares his many inventions with her, such as the “one-second time machine,” a device that can go either forward or backward in time by only one second. Stéphane’s dreams encroach on his waking life as he tries to win Stéphanie’s heart and misses time at work. He breaks into her apartment, taking her stuffed toy horse, and implants a mechanism inside of it that will make it gallop. While putting it back into her apartment, Stéphanie arrives and catches him, demanding he leaves and becoming more upset with him. Embarrassed and heartbroken, Stéphane retreats to his own apartment where he receives a call from Stéphanie, who apologizes and thanks him for the gift she discovers: a galloping version of “Golden the Pony Boy,” who she reveals was named after Stéphane.

As the months go by, waking and dreaming become even more intermixed. To Stéphane’s surprise, the calendar manufacturer accepts his “Disasterology” idea and it becomes a great success. The company decides to have a party in his honour, but he becomes depressed and begins drinking excessively after he witnesses Stéphanie dancing flirtatiously with another man. The next day, Stéphane and Stéphanie have a confrontation in their hallway when Stéphane announces that he doesn’t want to be Stéphanie’s friend any longer. Stéphanie becomes very upset, offering Zoé’s phone number and reciting Stéphane’s note. Stéphane, still unaware that Stéphanie has read the note, assumes that they are connected through “Parallel Synchronized Randomness”, a rare phenomenon he has examined in his dreams. Stéphanie offers that they discuss their issues on a date, but on Stéphane’s walk to the café to meet her, he has a frightful vision that she isn’t there and she doesn’t love him after all. Out of fear and anxiety due to the intermixed reality and dream, he runs back to her apartment and bangs on her door, demanding that she stop torturing him; in actuality, she is indeed waiting for him at the café. Stéphane runs at her door, attempting to break it down, but winds up bashing his head and collapsing in the hall, where his mother eventually finds him bleeding. Tired of waiting, Stéphanie returns home while Stéphane, coaxed by his mother and her friend, decides to move back to Mexico. Before leaving, Stéphane’s mother insists that he says a formal goodbye to his next door neighbor, Stéphanie. In his attempt to do so, he becomes extremely crass, making sexual and offensive jokes to her, and accusing her of never being able to finish something she starts. However, he reveals that he is truly interested in her because she’s different from other people. As his antagonistic behavior pushes her to her breaking point, Stéphanie asks Stéphane to leave but he instead climbs into her bed and yells at her, before spotting two items on her bedside: his one-second time machine, and the finished boat they had planned to use in their animated film. Stéphane falls asleep in Stéphanie’s bed. As she checks on him to see why he has become so quiet, she gently strokes his hair. The film closes with Stéphane and Stéphanie riding Golden the Pony Boy across a field before sailing off into the ocean’s horizon in her white boat.