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The Best Movies About Dreams




By Mike Reistetter
Updated Jan 24, 2021



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From Total Recall to Eyes Wide Shut, dreams have always driven forward the narrative of movies and these are the top examples.
What better way to construct a narrative than with a conflict everyone experiences on a nightly basis, whether they realize it or not?
The following movies are a ranking of the best cinematic examples that feature a dreamscape as its primary setting or object of utmost pursuit. Ruled out of contention - but worth receiving honorable mention - are the selected works from the filmography of directors who staunchly refuse to provide definitive interpretations of their suspected dream-based narratives, such as David Lynch.
Updated on January 24th, 2021 by Mark Birrell: As an art form that itself mimics the experience of a dream, movies are home to some of the most fascinating meditations on dreaming and imagination ever released for mass consumption. We've added an extra 5 movies to our list to further flesh out the very best examples of movies that revolve around dreams, though it should be noted that they appear in no particular order. Some are more recent thrillers that have yet to garner the reputations that they fully deserve and others are iconic avant-garde films that advanced the medium of filmmaking itself.
Federico Fellini analyzed dreams, creative drive, and the relationship between cinema and religion, amongst many other things, in this massively influential art film that paralleled his own life and career in many ways.
The story follows Marcello Mastroianni's director as they struggle to materialize their next ambitious movie, with Fellini's psychoanalytical look at the mind of a filmmaker being strikingly honest, even by today's standards.
Dreams and visions of an impending calamity of biblical proportions trouble the father of a small family in rural Ohio. As his need to protect his family against an unseen–and quite unbelievable–apocalypse grows frantic, it tests his wife's faith in him and his trust in his own sanity.
Michael Shannon and Jessica Chastain shine in this intense drama from writer and director Jeff Nichols and its ambiguity allows plenty of room for audience interpretation, as all good movies about dreams really should.
Surreal comedy icon Terry Gilliam brought much of the strangest charms of Monty Python into a much darker and more complex science-fiction satire about a dystopian future made up of heartless bureaucracy.
A downtrodden pencil pusher dreams of fantastical romance and adventure against the monsters seeking to crush his spirit as well as a beautiful woman that he spots in real life. As much as Brazil explores imagination and escape, it's ultimately as much about nightmares as it is dreams, and its ending lives on in nihilistic infamy.
Revered writer and director Ingmar Bergman created one of his most enduring and well-respected works with this strange road movie about an aging professor traveling with his daughter-in-law to receive a prestigious honor.
Plagued by mildly sinister and often humiliating dreams, and joined by an assortment of starkly familiar guests, the professor explores his past loves and is forced to confront his coldness to the world around him and how it has spread throughout his family.
The middle child of cult director John Carpenter's so-called Apocalypse trilogy, Prince of Darkness progresses from the relatively straightforward sci-fi horror of its spiritual successor The Thing with a story about the discovery of the physical representation of the literal Devil. Which, in true 80s body horror fashion, manifests as a big jar of green goop, in this particular instance.
Dreams are a part of the movie's many musings on metaphysics and human notions of reality viewed on a subatomic level. while that may sound weighty, the movie is really quite a simple siege movie in the vein of Carpenter's earlier and most famous works.
As one of the slew of action-packed blockbusters fronted by Arnold Schwarzenegger back in his heyday, the film - based on a Phillip K. Dick short story - still holds up.
When viewed purely for its sci-fi elements, the film becomes something else entirely. Its plot - a construction worker unsure if he is dreaming or not while wrapped up in the epicenter of espionage on Mars - reels in audiences who remain for the payoff. Those who do not sleep on Total Recall will be rewarded in the form of not having to endure through the nightmare that was its 2012 remake .
Long before movie heroes demonstrated their talent for inserting themselves into others' dreams, the market for such was cornered by an all-time villain in horror cinema.
For essentially two decades, Robert Englund took to the silver screen to play Freddy Krueger, the King of all things night-time terror. The vengeance-seeking, hat-wearing burn victim's reign began with Wes Craven's A Nightmare On Elm Street, a film that helped lead the charge in franchises specially tailored to late-night audiences.
The understated surreal romantic comedy was not director Michel Gondry's first foray into the genre. It served as his follow-up to Eternal Sunshine of the Spotless Mind , Gondry's Oscar-winning collaboration with irreverent-brother-in-arms, Charlie Kaufman ( Being John Malkovich, Adaptation ).
The Science of Sleep tells the story of a reality-confused artist burdened by the creativity his frequent vivid dreams supply him. Those in a day-to-day funk are left compelled to identify with a character who basks in the unreal to override the mundane parts of life he downright loathes.
The sequel to 1992's Wayne's World - based on the Saturday Night Live skit of the same name, and also starring Mike Myers and Dana Carvey - arguably entertains as often as its more successful predecessor . However, due to the understandable mass preference for the franchise's first feature-length outing, one may at first fail to remember the lucid dream inciting incident that adamantly drove not just the bulk of, but the entirety of Wayne's World 2 ' plot.
Following a spiritually-fueled visit from The Doors' Jim Morrison, Wayne wastes no time in making the late musician's wish his command: putting on a music festival to-end-all-music-festivals called "Waynestock." Game On!
Late in his career, Japanese filmmaker Akira Kurosawa continued to shape his legacy that spanned over 50 years.
One such instance: Dreams , for which Kurosawa drew from his own recurring dreams to tackle his views on topics like childhood, spirituality, death, and disaster. The film brought him in touch with a pair of American directors - George Lucas and Steven Spielberg - who each listed the director as a creative hero. Together, they helped Kurosawa gain the funds needed to tell the vignette-segmented tale on the big screen.
Alejandro Amenábar's 1997 film - originally released as Abre Los Ojos , the Spanish translation of its mass-marketed title - followed the vain César (Eduardo Noriega) on his quest through the hellscape that has become of his native Madrid after suffering facial disfigurement in a car crash.
Those familiar with both Open Your Eyes and its American remake, Vanilla Sky (starring Tom Cruise) know each of the open-to-interpretation mind-trips culminates in a major "the second half of this film was a dream" reveal. A fact that encourages revisitation, where the dream-of-it-all becomes even more clear with each repeat viewing.
Over eighty years later, the MGM film's parts have often been poached for regurgitation by way of declarative homage, rendering it near impervious to critique - and negating all those who would cry "spoilers" as well.
Thus, the equivocally-known fact that Dorothy's yellow brick road, Oz-bound voyage with The Cowardly Lion, Scarecrow, and the Tin Man was nothing but a dream does not undo what was learned along the way. And while the film proved "there is no place like home," it still seems pretty tough to compete with whatever Aunty Em was putting in Dorothy's tea.
Christopher Nolan ( Memento, The Dark Knight Trilogy) pursued uncharted territory with his 2010 crime thriller that brought audiences into dreams-within-dreams-within-even-more-dreams.
Determined to plant an idea inside the mind of a major corporation's heir apparent (Cillian Murphy), Dom Cobb (Leonardo DiCaprio) and his specially-skilled partners set out to pull off the con of a subconsciously-on-point lifetime.
Sometime after breaking out with Dazed and Confused (1993) and Before Sunrise (1995), and before embarking on the ambitiously long-form Boyhood (2014), Richard Linklater sought to provide his apt-to-philosophically-chitchat characters a new backdrop.
In 2001's Waking Life , Dazed and Confused 's Wiley Wiggins finds himself smack in the middle of a cutting edge, rotoscope-animated dream world. Actual existentialist researchers cameo to break down the many rules of REM sleep while Wiggins' unnamed protagonist attempts to find requiem among the overwhelmingness of lucid entrapment.
In Stanley Kubrick's final film, then-Hollywood power couple Tom Cruise and Nicole Kidman star as a pair of upper eschaton New Yorkers in for a rude awakening.
After learning his wife dreamed of having an affair, Cruise's Dr. William Hartford impulsively wanders off into the night on an odyssey involving a bone-chilling encounter with an occult-worshipping secret sex society. With his version of the erotically-charged fantasy tormenting his ego-rocked mind, Eyes Wide Shut by-design plays like Hartford's own personal nightmare; where New York's streets are London-wide, while Long Island plays host to the devil hidden behind a masquerade mask.
Mike received his bachelor's degree in Media Studies and Journalism from Mount Saint Mary College in 2017. As an undergraduate, he served as editor-in-chief and film critic of the school newspaper, "The Mount Messenger." He continued his education by studying screenwriting in a two-year M.F.A. intensive at LIU Brooklyn. Before joining Screen Rant, Mike worked as a production intern at MuchObliged.TV. Beyond his interest in movies and television, Mike is a sports fan who enjoys watching the New York Yankees, the Dallas Cowboys, and the Los Angeles Lakers.


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Dreams are the sleeping routine for most of humanity. One takes a physical rest from the world and from their fears and desires, only to encounter these same elements of existence in magnified or softened versions. Distorted universes and members of one’s life, sometimes added to old regrets and wishes, or simply the absurdity of an action that one would never imagine doing, but whose consolidation is quite realistic during the experience.
It is the state of consciousness in which one is separated from visions of the palpable world and closest to reflections of the unconscious. Yet we can hardly conceive anything close to many of them being a part of us.
Many an art form has explored the theme, and cinema has done it in various versions and using various strategies. Some of them envision dreams as the paradise of the psyche, others prefer to engage in the representations of nightmares, or suffocating experiences full of symbolisms and self-reflections.
20. The Bothersome Man (Jens Lien, 2006)
This Norwegian production is an underground piece of uncanny qualities. Its bright lighting and dull colour palette converge well with its desire to represent a world of emptiness. Andreas is an apathetic man who mysteriously arrives on a bus at a checkpoint shack in the middle of a cold, rocky desolation. He is welcomed by a driver who takes him to a strange city; strange in its boredom, and strange in the apparent flamboyance and materialism of its inhabitants.
Andreas soon realises that the food has no taste, the drink does not inebriate, and the sex does not generate emotions. He witnesses a man commit suicide by throwing himself out of a window and falling onto a spiked fence. Nobody on the street seems to notice the blood and bowels scattered about. He does. And he worries about it.
He ultimately finds his salvation and his pleasure in listening to a distant melody deep within the foundations of an old building. While trying to excavate and reach the source of the song, he is stopped by the film’s “thought police” and carried away to be left in the middle of the cold desert again.
Its rendition of a veritable nightmare – probably the worst nightmare of many of us; the loss of sensibility in its various forms – is serious and comedic at the same time, and easily convinces the spectator about the despair of living in a world without taste.
19. Wristcutters: A Love Story (Goran Dukić, 2006)
How would you react if you committed suicide and woke up in another world, much the same as the previous, but with the intensity of the little things of life glorified? Wristcutters: A Love Story has that odd a plot.
The protagonist Zia slits his wrists after a sequence portraying the boredom of his life in his messy bedroom. He “wakes up” in a surreal afterlife, where other suicidal individuals are, where nobody smiles, and where the logic of physics – very much like in dreams – is distorted. He meets Eugene, an impetuous man in a never-ending quest to fix his car’s headlights. Zia’s new world is apathetic, filled with solitude and silence, but also with solemnity and innocence.
The lack of smiles is quickly compensated for by the calm countenances, the friendly glances of relief that usually precede a smile, but without the consolidation of the happy act. Like in a dream, strong emotions are hard to come about, and when they come they cause utter astonishment.
Zia is looking for his girlfriend, who he finds out has committed suicide shortly after himself in the up there in the “real” world. During such a quest – slow-paced and full of uncanny apparitions and people –, he starts feeling at home, much like when we are introduced to fond memories or desires during a deep sleep.
Wristcutters is about reconciliation, and how our deepest projections of our own universe may elucidate our views on life. Zia does not want to wake up from his dream. When he does wake up, however, he also does reconcile with his own reality and the effortlessness of his search for happiness.
18. Total Recall (Paul Verhoeven, 1990)
Far into the future, humanity has come to the point of profiting from the sale of dreams. Douglas Quaid has had many layers of his memory erased over time, and lives a life of lies. His wife, his employment, his knowledge on his past… all such things were fabricated by people who did not want him to spy about their important and dodgy businesses.
But memories oftentimes resurface during one’s sleep. Quaid, from the very beginning of the storyline, has odd dreams with a mysterious woman, and such dreams always take place on Mars, already colonised by humankind in the film’s mythos. He seeks Rekall, a company that sells “vacation packages” based only on one’s memories, and finds out that he has been tricked during much of his life after going through an incident in the clinic and bursting through an army of foes.
Every secret is progressively revealed to him, and ultimately he escapes to Mars, finding the mysterious woman of his dreams and defeating the corrupted forces that chased him all along, also dissipating oxygen across the planet’s atmosphere in the process.
Total Recall is a straightforward action sci-fi. Verhoeven is responsible for other endeavours of such a calibre, among them RoboCop. Here, he picks up where Philip K. Dick left off in his short story “We Can Remember it for You Wholesale” and adds elements of suspense and frantic conflicts. A must-see for audiovisual science fiction aficionados, it also brings up to the table the interesting tale of a man whose trust can only be put in his own dreams.
Kurosawa is one of the most renowned filmmakers in cinema history. Dreams is one of his last contributions to the art form that he so much loved and helped build. The film-loving world is thankful to Mr Kurosawa for having shared his recurring dreams in this aesthetically stunning piece.
into chapters, the dreams follow a maturing process of the main characters – always resemblances of the director. A young boy is caught spying on foxes as they carry out a wedding ceremony under summer rain; a man is lost in a post-apocalyptic world where demons embody sins and sorrows of humanity; an avid artist crosses European landscapes to meet Vincent Van Gogh, here played by Martin Scorsese, who discusses the complexities of his art; among other images.
A film that feels like a painting in constant motion, Dreams is a memorable anthology of human failures to realise the importance of our connection to nature, and how a break of such a connection can only take us far into our own oneiric fears and our material demise. However, the film sends the message in a rather solemn, sweet way. Instead of shocking, it instils thought; instead of warning, it ponders our true needs.
16. The City of Lost Children (Jean-Pierre Jeunet and Marc Caro, 1995)
Jeunet and Caro went on to create a curious little steampunk city to put in front of the camera and entertain the spectator with slapstick characters and uncanny close-ups that add to the grotesque visual elements of the film’s fantasy. But more than that, this production – written by Gilles Adrien and Jeunet himself – carries quite an interesting plot.
In this fictional city, located in the middle of the ocean, an insane and bitter scientist named Krank can never dream, and lives among a troupe of monstrous characters created to make company to him and aid in his search. His search, by the way, consists of kidnapping children so that he can have their dream
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