Vicky Cristina Barcelona (2008) Movie Quotes

Vicky Cristina Barcelona (2008) Quotes and Trailer

top movie quotes Vicky Cristina Barcelona

Sexually adventurous Cristina and her friend Vicky, who is bright but cautious, holiday in Barcelona where they meet the celebrated and wholly seductive painter, Juan Antonio. Vicky is not about to dive into a sexual adventure being committed to her forthcoming marriage. But Cristina is immediately captivated by Juan Antonio’s free spirit and his romantic allure is enhanced when she hears the delicious details of his divorce from fellow artist, the tempestuous Maria Elena>

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top movie quotes Vicky Cristina Barcelona

top movie quotes Vicky Cristina Barcelona

top movie quotes Vicky Cristina Barcelona

top movie quotes Vicky Cristina Barcelona

top movie quotes Vicky Cristina Barcelona

top movie quotes Vicky Cristina Barcelona
top movie quotes Vicky Cristina Barcelona

top movie quotes Vicky Cristina Barcelona  animated gif

top movie quotes Vicky Cristina Barcelona  animated gif

top movie quotes Vicky Cristina Barcelona  animated gif

top movie quotes Vicky Cristina Barcelona  animated gif

movie quotes Vicky Cristina Barcelona  animated gif

t movie quotes Vicky Cristina Barcelona
t movie quotes Vicky Cristina Barcelona

t movie quotes Vicky Cristina Barcelona

t movie quotes Vicky Cristina Barcelona

t movie quotes Vicky Cristina Barcelona

t movie quotes Vicky Cristina Barcelona

t movie quotes Vicky Cristina Barcelona

t movie quotes Vicky Cristina Barcelona

Stars: Rebecca Hall, Scarlett Johansson, Javier Bardem

Juan Antonio: Maria Elena used to say that only unfulfilled love can be romantic.

Vicky Cristina Barcelona (2008) Movie Quotes

Juan Antonio: Why not? Life is short. Life is dull. Life is full of pain. And this is a chance for something special.

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Vicky: So, uh, tell me why, why won’t your father publish his poems?

Juan Antonio: Well, because, ungh, he hates the world and that’s his way of getting back at them, to create beautiful works and then to deny them to the public, which I think it’s…

Vicky: My god.

Juan Antonio: Hmmm.

Vicky: Oh, what makes him so angry toward the human race?

Juan Antonio: Because after thousands of years of civilization they still haven’t learned to love.

Juan Antonio: American?

Cristina: I’m Cristina, and this is my friend Vicky.

Juan Antonio: What color are your eyes?

Cristina: Uh, they’re blue.

Juan Antonio: Well, I’d like to invite you both to come with me to Oviedo.

Vicky: To come where?

Juan Antonio: To Oviedo. For the weekend. We leave in one hour.

Cristina: What- Where is Oviedo?

Juan Antonio: A very short flight.

Vicky: By plane?

Juan Antonio: Mmm-hmm.

Cristina: What’s in Oviedo?

Juan Antonio: I go to see a sculpture, that is very inspiring to me. A very beautiful sculpture. You will love it.

Vicky: Oh, right. you’re asking us to fly to Oviedo and back.

Juan Antonio: Mmmm. No, we’ll spend the weekend. I mean, I’ll show you around the city, and we’ll eat well. We’ll drink good wine. We’ll make love.

Vicky: Yeah, who exactly is going to make love?

Juan Antonio: Hopefully, the three of us.

Maria Elena: You speak no Spanish?

Cristina: No ,I uh-uh studied Chinese.

Maria Elena: Chinese? Why?

Cristina: I thought it sounded pretty.

Maria Elena: Say something in Chinese.

Cristina: Me?

Maria Elena: Mm-hm.

Cristina: Um… ni hao ma?

Maria Elena: You think that sounds pretty?

Juan Antonio: We are meant for each other and not meant for each other. It’s a contradiction.

Juan Antonio: Well, now that the day’s almost over, is it reasonable of me to ask you if you’ll both join me in my room?

Vicky: Oh, come on, I thought we’d settled that.

Cristina: Vicky’s just trying to say that she’s engaged to be married, that’s all.

Juan Antonio: Great. Then these are her last days of freedom.

Vicky: No. Look, I’m not free. I’m committed. You know what my theory is? And when I drink, I get brutally frank. I think that you’re still hurting from the failure of your marriage to Maria Elena, and you’re trying to lose yourself in empty sex.

Juan Antonio: Empty sex? Do you have such a low opinion of yourself?

Maria Elena: You’re still searching for me in every woman.

Juan Antonio: That is not true, Maria Elena. I was in Oviedo some weeks ago with a woman who was the antithesis of you. An American, and something beautiful happened with her. So you’re mistaken.

Maria Elena: You’ll always seek to duplicate what we had. You know it.

Cristina: I’ll go to your room, but you have to seduce me.

Cristina: [Looking at a sculpture of Jesus] Are you very religious?

Juan Antonio: No, no, no, no, I’m not. The trick is to enjoy life, accepting it has no meaning whatsoever.

Cristina: No meaning? You don’t think that authentic love gives life meaning?

Juan Antonio: Yes, but love is so transient. Isn’t it? I was in love with a most incredible woman… and then in the end…

Vicky: Yes?

Juan Antonio: She put a knife into me.

Cristina: My God, that’s terrible!

Vicky: Well, maybe you did something to deserve it.

[first lines]

Narrator: Vicky and Cristina decided to spend the summer in Barcelona. Vicky was completing her master’s in Catalan Identity, which she had become interested in through her great affection for the architecture of Gaudí. Cristina, who spent the last six months writing, directing, and acting in a 12-minute film which she then hated, had just broken up with yet another boyfriend and longed for a change of scenery. Everything fell into place when a distant relative of Vicky’s family who lived in Barcelona offered to put both girls up for July and August. The two best friends had been close since college and shared the same tastes and opinions on most matters, yet when it came to the subject of love, it would be hard to find two more dissimilar viewpoints. Vicky had no tolerance for pain and no lust for combat. She was grounded and realistic. Her requirements in a man were seriousness and stability. She had become engaged to Doug because he was decent and successful and understood the beauty of commitment.

Vicky: [while talking on her cellphone to Doug] Yeah, I miss you, too.

Narrator: Cristina, on the other hand, expected something very different out of love. She had reluctantly accepted suffering as an inevitable component of deep passion, and was resigned to putting her feelings at risk. If you asked her what it was she was gambling her emotions on to win, she would not have been able to say. She knew what she didn’t want, however, and that was exactly what Vicky valued above all else.

[repeated line]

Juan Antonio: Speak English!

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Juan Antonio: We were both sure that… our relation was perfect, but there was something missing. You know? Like, love requires such a perfect balance. It’s… like the human body. It may turn that you have all the vitamins and minerals, but if… there is minus a single, tiny ingredient… missing, like, like, like, like, ooh, like salt, for example… one dies.

Cristina: Salt?

[last lines]

Narrator: Vicky returned home to have her grand wedding to Doug. To the house they finally planned to settle in. And to lead the life she envisioned for herself, before that summer in Barcelona. Cristina continued searching… certain only, of what she didn’t want.

Narrator: During the conversation, an awkward moment occurred.

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Cristina: If you don’t start undressing me soon this is going to turn into a panel discussion.

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Vicky: Oh, God, look, I wouldn’t call our reluctance to leap at your sexual offer being over-analytical. If you would care to join us for some recognized form of social interaction, like a drink, then we’d be fine, but otherwise, I think you should try, you know, offering to some other table.

Juan Antonio: Mm-hm. What offended you about the offer? Surely not that I find you both beautiful and desirable.

Vicky: Offended me, no. It’s very amusing, galling, to be honest,

Judy: Vicky… you’re, you’re getting your master’s in something within…

Vicky: Yeah, my master’s in, uh, Catalan identity.

Judy: Ah well.

Mark: What do you plan on doing with that?

Vicky: Oh… God, I don’t know, uh, maybe teaching, maybe curating.

Judy: Well… you don’t have to do something, you know.But she’s marrying this wonderful man in the fall and all of her conflicts will be resolved when he makes her pregnant.

Cristina: Oh my God, this guy is so interesting.

Vicky: Interesting? Are you kidding? What’s so interesting? He wants to get us both into bed. You know, but, he’ll settle for either and, in this case, you.

Juan Antonio: When I saw you across the room at the art gallery, I noticed you have – beautiful lips. Very full, very sexual.

Cristina: Thank you.

Cristina: I can’t guarantee the love-making, because I happen to be very moody.

Juan Antonio: Let’s not negotiate like a contract. I came over here with no subterfuge and presented my best offer.

Cristina: Vicky, I’m a big girl, okay. If I want to sleep with him, I will. If not, I won’t.

Vicky: Christina, he’s a total stranger. This is impulsive, even for you. And, if I heard right, he was violent with his wife!

Cristina: Well, at least he’s not one of those factory-made zombies.

Cristina: This would be a great way to get to know him.

Vicky: No! It’s not! I’m not going to Oviedo with this – with this charmingly candid wife-beater. You find his aggressiveness attractive; but, I don’t.

Cristina: You got to admire his no bull shit approach.

Vicky: What are you talking about? It’s all bull shit!

Cristina: I am here to go to bed with you. You’re right. So, you’re pretty much home free, unless you – blow it.

Juan Antonio: Blow it?

Cristina: Yeah.

Juan Antonio: *Blow* it – you mean ruin the moment?

Cristina: Yeah.

Juan Antonio: How would I do that?

Cristina: I don’t know. It could be anything from some inane comment to wearing the wrong kind of shorts. Although, some how, by looking at you, I think you’re wearing the right kind of shorts.

Juan Antonio: What do you want in life besides a man with the right shorts?

Cristina: I don’t know. I know I’m not going to settle till I find what I’m looking for.

Juan Antonio: Which is – what?

Cristina: Something – I want someone, something different, something more, some sort of counterintuitive love.

Juan Antonio: Meaning?

Cristina: Meaning – I don’t know. I don’t know what I want. I only know what I don’t want.

Julio: What do you hear of Maria Elena?

Juan Antonio: Eh, Maria Elena. Maria Elena’s still living with the architect in Madrid.

Julio: That woman was the best. I still have erotic dreams about her, at my age.

Juan Antonio: She also loved you very much, Papa.

Juan Antonio: You also admire Spanish guitar, I hear?

Vicky: Yes! Yes, I love the guitar.

Juan Antonio: Would you like to go to hear some wonderful guitar tonight?

Vicky: Tonight? Well, it’s a little late and, you know, I’m a little wobbly from the wine.

Juan Antonio: You said you could hold your alcohol? Besides, we leave tomorrow.

Vicky: Okay, sure.

Vicky: You said you were looking at my face. Why?

Juan Antonio: Why were you looking at mine?

Vicky: Was I?

Juan Antonio: You probably saw my tears.

Vicky: Yeah. I’m a little out of control.

Juan Antonio: I was looking at your face because I find it very beautiful.

Vicky: You do?

Juan Antonio: Of course, I do. Of course, I do. And you know I do.


Juan Antonio: We never had a chance to say a proper goodbye.

Vicky: Oh, well, you could have called me.

Juan Antonio: I – yeah – I debated it. But, I didn’t think there was much point.

Vicky: Yeah, but, you never phoned. Not to say – anything. I mean, “thank you, it was fun.” You don’t make love to someone and then never call them unless you were greatly disappointed.

Juan Antonio: Quite the opposite. But, you have plans to marry and I thought it best to stop anything before it lead to a bad situation for everyone.

Vicky: Yeah, well, I’m only saying that we made love and you seemed to drop off the face of the earth. I mean, I realize these things don’t mean much to you.

Juan Antonio: To pursue matters would have only caused you anxiety and for me a disappointment.

Cristina: How long is she going to stay here?

Juan Antonio: Christina, I know – this is not what you had in mind.

Cristina: No.

Juan Antonio: But, she has to stay with us.

Cristina: I understand. I understand.

Juan Antonio: She has no one else.

Cristina: I understand. It’s only for a short time.

Juan Antonio: Yes, a few months, at most.

Cristina: She’s staying for a few months?

Maria Elena: I don’t trust her, Juan Antonio. Her eyes are not one color.

Maria Elena: Do you think she’ll be enough for you?

Juan Antonio: Well, she’s – she’s quite intelligent and she is a free thinker like you.

Maria Elena: Like me?

Juan Antonio: Yes.

Maria Elena: You’re still searching for me in every woman.

Maria Elena: You’ll always seek to duplicate what we had. You know it.

Maria Elena: I don’t like her for you! I don’t trust her! And you know I always have your best interests.

Juan Antonio: Well, not when you’re trying to kill me.

Maria Elena: Oh, that.

Juan Antonio: Yeah, that. That small detail. Yes.

Maria Elena: Of course I went through your luggage. The first night I was in the house, I didn’t trust you. I didn’t believe you were who you said you were. I wanted to know who was really sharing the bed of my ex-husband.

Cristina: What!

Maria Elena: Who knew what I would find there? How could I be sure that you were not going to hurt me. After all, I had thoughts of killing you.

Cristina: It’s so apparent to me that you and Juan Antonio are still in love – when I see you together.

Maria Elena: Our love, our love will last forever. It’s forever. But, it just doesn’t work. That’s why it will always be romantic. Because, it cannot be be complete.

Cristina: It can’t be complete because, you know, I’m getting in the way or, I don’t know, I feel like…

Maria Elena: Before you – before you we used to cause each other so much pain, so much suffering. Without you, all this would not be possible. You know why? Because you are the missing ingredient. You are like the tint, that added to the palate, makes the color beautiful.

Vicky: Let’s not get into one of those turgid, categorical, imperative arguments.

Maria Elena: I knew you would use us. I knew you would use us. And you used us. I knew it! I knew it! I knew it.

Vicky: You’re using me to rewrite your own history.

Juan Antonio: Judy Nash says you are having an unhappy life.

Vicky: Well, she’s talking about herself.

Juan Antonio: Maybe you will understand more about your own feelings once we’ve made love.

Vicky: Yeah or less.

Doug: I still don’t understand what your language teacher was doing with a gun?

Vicky: It was a passing thing. Now, it’s over.

Top Holly Black Quotes The Famous Author of Romantic Books

Top Holly Black Quotes 

Top Holly Black Quotes

Holly Black is the author of bestselling contemporary fantasy books for kids and teens. Some of her titles include The Spiderwick Chronicles (with Tony DiTerlizzi), The Modern Faerie Tale series, the Curse Workers series, Doll Bones, The Coldest Girl in Coldtown, the Magisterium series (with Cassandra Clare), The Darkest Part of the Forest, and her new series which begins with The Cruel Prince in 2018

Top Holly Black Quotes

Top Holly Black Quotes

Top Holly Black Quotes

Top Holly Black Quotes

Top Holly Black Quotes

Top Holly Black Quotes

Top Holly Black Quotes

Top Holly Black Quotes

Top Holly Black Quotes

Top Holly Black Quotes

Top Holly Black Quotes

The Fault in Our Stars (2014) Top gifs Quotes Images

The Fault in Our Stars (2014) TopImages gifs Quotes
Hazel and Augustus are two teenagers who share an acerbic wit, a disdain for the conventional, and a love that sweeps them on a journey. Their relationship is all the more miraculous, given that Hazel’s other constant companion is an oxygen tank, Gus jokes about his prosthetic leg, and they meet and fall in love at a cancer support group.

The Fault in Our Stars (2014) Top  gifs Quotes Images
The Fault in Our Stars (2014) Top  gifs Quotes Images

The Fault in Our Stars (2014) Top  gifs Quotes
The Fault in Our Stars (2014) Top  gifs Quotes

The Mountain Between Us (2017) Top Quotes and Review

The Mountain Between Us (2017)

Stranded after a tragic plane crash, two strangers must forge a connection to survive the extreme elements of a remote snow covered mountain. When they realize help is not coming, they embark on a perilous journey across hundreds of miles of wilderness, pushing one another to endure and discovering strength they never knew possible. Written by Twentieth Century Fox

The Mountain Between Us (2017) Top Quotes

Ben Bass: Alex, can you look at me. You really hurt your leg. Your phone is smashed, my phone has no signal and we’re pretty high up on the mountain. We need to get help.

Alex Martin: [to Ben] We can go three weeks without food, three days without water, and three hours without shelter.

Alex Martin: [to Ben] Nobody knows where we are. We’re all we’ve got, me and you! That’s it.

Alex Martin: [to Ben] We might die together and I don’t even know you.

Ben Bass: If we stay here we’re safe. If we leave, search and rescue, they’re less likely to find us.
Alex Martin: Look, I don’t want to die up here because you’re too scared to take a risk. We have to do something.

Fifty Shades Darker (2017) Quotes and Trailer

Fifty Shades Darker (2017) Quotes and Trailer

While Christian wrestles with his inner demons, Anastasia must confront the anger and envy of the women who came before her.

Best Quotes

“This is me, Ana. All of me … and I’m all yours. What do I have to do to make you realize that? To make you see that I want you any way I can get you. That I love you.”

“I don’t know whether to worship at your feet or spank the living sh-t out of you.”

“Let me ask you something first. Do you want a regular vanilla relationship with no kinky f-ckery at all?”

“I’m anything but fine. I feel like the sun has set and not risen for five days, Ana. I’m in perpetual night here.”

“But I’m a selfish man. I’ve wanted you since you fell into my office. You are exquisite, honest, warm, strong, witty, beguilingly innocent; the list is endless. I’m in awe of you. I want you, and the thought of anyone else having you is like a knife twisting in my dark soul.”

“Sweet Jesus, you’re wearing stockings.”

“We’ve chased the dawn, Anastasia, now the dusk.”

“I’m not going to touch you until you say yes. But right now, after a really sh-tty morning, I want to bury myself in you and just forget everything but us.”

“I’m talking about the heavy sh-t, Anastasia. You should see what I can do with a cane or a cat.”

“I don’t care if you hit or miss, baby. I just want to see you like this — partially dressed, stretched out on the billiard table.”

“You are going to unman me, Ana … You — take me. Ana, touch me … please.”

“I’m a sadist, Ana. I like to whip little brown-haired girls like you because you all look like the crack whore — my birth mother.”

“I’m going to put this inside you ….”

“Nothing plain or old about vanilla — it’s a very intriguing flavor.”

“I think I died a thousand deaths, Ana. Someone threatening you … all my worst fears realized.”

Brooklyn (2015) Trailer and Top Movies Quotes

Brooklyn (2015) Trailer and Top Movies Quotes

An Irish immigrant lands in 1950s Brooklyn, where she quickly falls into a romance with a local. When her past catches up with her, however, she must choose between two countries and the lives that exist within.

Brooklyn 2015 best quotes

[last lines]
Eilis: [instructing new immigrant] You have to think like an American. You’ll feel so homesick that you’ll want to die, and there’s nothing you can do about it apart from endure it. But you will, and it won’t kill you. And one day the sun will come out – you might not even notice straight away, it’ll be that faint. And then you’ll catch yourself thinking about something or someone who has no connection with the past. Someone who’s only yours. And you’ll realize… that this is where your life is.

Eilis: You’ll feel so homesick that you’ll want to die, and there’s nothing you can do about it apart from endure it. But you will, and it won’t kill you… and one day the sun will come out and you’ll realize that this is where your life is.

Eilis: I wish that I could stop feeling that I want to be an Irish girl in Ireland.
Father Flood: Homesickness is like most sicknesses. It will pass.

Eilis: You remember that after I had dinner at your house, you told me that you loved me?
[Tony nods, sombre and nervous]
Eilis: Well, I didn’t really know what to say. But I know what to say now. I have thought about you and I like you, and I like seeing you, and maybe I feel the same way. So the next time you tell me you love me, if there is a next time, I’ll, I’ll say I love you too.
Tony: Are you serious?
Eilis: Yes.
Tony: Holy shit! Excuse my language, but I thought we were going to have a different kind of talk. You mean it?
Eilis: I mean it.

Eilis: I’d forgotten what this town is like. What were you planning to do, Miss Kelly? Keep me away from Jim? Stop me from going back to America? Perhaps you didn’t even know. Perhaps it was enough for you to know that you could ruin me. My name is Eilis Fiorello.

Tony: OK, so while you’re being amenable. Can we go see a movie this week? When you’re not at night classes?
Eilis: I’ll sign up for two movies.
Tony: Really?
Eilis: Yes. Even if the first date is a disaster, I’ll give it another chance.

Diner Waiter: I hope that when I go through the pearly gates, the first sound I hear is you asking me for the bill in that lovely Irish brogue.

Frankie Fiorello: So first of all I should say that we don’t like Irish people.
[General cries of outrage around the table]
Frankie Fiorello: We don’t! That is a well known fact! A big gang of Irish beat Maurizio up and he had to have stitches. And because he cops round here are Irish, nobody did anything about it.
Maurizio: There are probably two sides to it. I might have said something I shouldn’t, I can’t remember now. Anyway, they probably weren’t all Irish.
Frankie Fiorello: They just had red hair and big legs.

Georgina: Try and remember that sometimes it’s nice to meet people who don’t know your auntie.
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Tony: Home is home.

Diana: It’s not politics, to talk about eye operations.
Mrs. Keogh: It is if the eyes belong to a politician.

Sheila: You need sunglasses. I read that if you don’t have them on the beach, this year people will talk about you.

Patty: There. That’s better. Now you don’t look like you’ve just come in from milking the cows.
Eilis: Is that what I looked like?
Patty: Just a bit. Nice clean cows. Let’s go.

Mrs. Keogh: I’ll tell you this much: I am going to ask Father Flood to preach a sermon on the dangers of giddiness. I now see that giddiness is the eighth deadly sin. A giddy girl is every bit as evil as a slothful man, and the noise she makes is a lot worse. Now, enough.

Patty: Do you have sunglasses?
Eilis: [Alarmed] No.
Sheila: You need sunglasses. I read that if you don’t have them on the beach this year people will talk about you.
Mrs. Keogh: [Witheringly] And what will they say, exactly, Sheila?
Dolores: That’s the thing, Mrs Kehoe. You’d never know, because they’d never say it to your face.

Mrs. Keogh: Diana’s right, though, Eilis. You need to think carefully about your costume. It’s the most Tony will ever have seen of you. You don’t want to put him off.

Georgina: [about their ship cabin] This is hell. Never again.
Eilis: Never again to America?
Georgina: The mistake was coming home.

Mrs. Keogh: Ellis, from the look of you, you have greasy skin, is that right? What do you do about that?
Eilis: Just… Well, I wash it, Mrs. Kehoe, with soap.
Miss McAdam: There is nothing wrong with soap. Soap was good enough for our Lord. I expect.
Mrs. Keogh: Well, which brand did he use, Miss McAdam? Does the Bible tell you that?

[first lines]
Eilis: Miss Kelly wants to talk to you later.
Mary Lacey: Not if what you’re going to say will cause trouble for me in some way or another.
Eilis: [sighs]

Sheila: Would I get married again? No, I want to be waiting outside the bathroom of my boarding-house forever.

Mrs. Keogh: I’ll thank you to keep His name out of a conversation about nylons, thank you very much. He might be everywhere, but He’s not in Bartocci’s on sale day.

Eilis: You’re the prettiest girl in County Wexford. You should be able to choose any man you want. And we’re hoping that George Sheridan from the rugby club looks your way.

Loving (2016) Trailer and Top Movie Quotes

Loving (2016) Trailer and Top Movie Quotes

The movie starts on a porch where a White man named Richard Loving (Joel Edgerton) is sitting on the porch with his Black girlfriend, Mildred (Ruth Negga). It is the mid 1950s in Virginia. They go off to a drag race which Richard moderates; both Black and White people are in attendance despite it being a period of segregation. Another day later, Richard lays down bricks since he works on building houses. Later, he takes Mildred to an empty field a few miles from where he lives. There is a squared off section of dirt and he asks her where she thinks the kitchen and bathroom should go. He tells her hes bought an acre of land and asks her to marry him.

The next time we see Mildred, she is pregnant. Richard convinces Mildred to drive with him to Washington, D.C. to have their marriage performed because its supposedly quicker but its really because Virginia is one of 24 states where interracial marriage is still illegal.

They return to town, married, and Richard works at an auto shop, keeping his marriage a secret. When he comes home to the house he lives in with his mother, she tells him that the sheriff is looking for him. When he asks, “What did he want?”, she responds, “To find you”. Richard nails his marriage certificate on his wall. That night, Mildred and Richard go to sleep together. The sheriff busts into the house, hoping to see them engaged in sex but instead they are just sleeping. The sheriff asks “What are you doing with that woman?” Mildred replies, “I’m his wife”. The racist sheriff tells her, “That’s no good here. You went out of town knowing your marriage wasn’t legal in Virginia.”

Richard and Mildred are taken to the local jail and kept in separate cells. He is released on bail the next morning but she is told she will have to stay there until they can see the judge on Monday, which is several days away. Richard is forbidden to speak to her so she is left alone in jail, pregnant. When Richard turns to his home, he immediately sets out to hire a lawyer. The one he meets with says they’ll be sentenced to one year in prison but this sentence can be suspended on the condition that they leave the state of Virginia for a minimum of 25 years. At home, Richards mom now tells him, “I told you not to marry that girl”. He responds, “I thought you liked her”. She replies, “I like hundreds of people.”

Mildred is finally released from jail and attends court with Richard and their lawyer. They both plead guilty. The judge says exactly as predicted they can avoid jail time only if they leave town. Privately, Richard and Mildred balk at this idea, both wanting to stay in the town that they grew up in and love. But they have no choice so they move to Washington, D.C. where they can live as an interracial couple.

Richard and Mildred try to adjust to the city life but it doesn’t suit them. They much prefer an area filled with grass and fields than buildings and concrete. Even though they try to make the best of it, Mildred notes that she always thought Richard’s mom would be the one to deliver their baby, as she does for many families. On this notion, Richard arranges for them to return to Virginia for his wife to give birth to his child. They drive into town and transfer Mildred into her brothers car midway. Richard stays low and then follows behind later. This way, they can show up in town separately because it is forbidden for them to be there together.

Mildred gives birth, with the assistance of Richard’s mom. The next day, Richard is outside and the police arrive, having been alerted to his return. They ask about Mildred but Richard says she’s not there. The police threatens to beat him into a pulp if he doesn’t retrieve her. Mildred hears from inside. She kisses her newborn baby and hands him over to her sister; she then comes out on the patio, revealing herself.

Now both Mildred and Richard are in jail again. They are worried about serving jail time for violating the court order. In court, their lawyer from before returns and even though he knew nothing of their plan claims that he had informed them that Mildred could give birth in Virginia and that they shouldn’t be faulted for his misinformation. Outside, they try to thank him for his deed but he just asks them not to come back. Obviously that lie will only work once.

Back in Washington D.C., time has passed and Mildred and Richard now have three kids two older boys and a young daughter. Mildred’s sister visits but mentions that she hates how far away they are. Mildred complains that there are no fields for the kids to play in, like when she was growing up in Virginia. Later, the kids are outside playing with the neighborhood kids but they are forced to do so amongst the busy traffic roads. One of her sons gets hit by a car; he is okay but it shakes Mildred up and now she want to return to Virginia and to the country life.

At first, the family stays in small apartments discretely Mildred and the kids arriving first and then Richard joining them later. Then they move in with Mildred’s family. Footage from the 1960s Civil Rights Movement is on TV. Mildred’s cousins convince her she needs to get them to help fight the miscegenation laws that make her marriage illegal and suggest she writes to Attorney General Robert Kennedy. She does.

Richard is up on a ladder, working on the house when he sees a car speeding through the fields towards him. Afraid hes been found out, he rushes off the ladder and tries to hide. But it is just Mildred’s brother. When Richard asks why he seemed so frantic to get there, Mildred’s brother replies that he always drives that fast. Richard admits to being paranoid.

Mildred receives a phone call and is told that the ACLU (American Civil Liberties Union) wants to take her case and help fight for her. She doesn’t quite understand but the woman on the other end tells her that Robert Kennedy forwarded a letter to them and they will provide her with a lawyer. When she says she cant afford a lawyer, the woman clarifies that the help would be provided free of charge.

The lawyer, Bernie Cohen (Nick Kroll) comes into town and sets up his practice in a temporarily vacated office, in a comical scene. Mildred and Richard arrive and he explains how he is going to fight for their marriage and that it could go all the way to the Supreme Court. Bernie points out that enough time has passed since their last court case. He suggests one possibility is they can get arrested again so they can appeal and take it to the courts adding that the ACLU would bail them out. Neither Mildred or Richard is thrilled about the idea of exposing themselves as having violated the court order. Now Richard is skeptical altogether. But Bernie says he’ll continue brainstorming ideas and Mildred retains her confidence in him.

Another lawyer working pro bono suggests to Bernie that they can reopen the case simply by asking the judge to set aside his original verdict and if he appeals, then they can take it to the Virginia Supreme Court of Appeals. Bernie does this and and as predicted, the judge refuses to change his mind, setting their case back in motion. Back at the Lovings home, the lawyer laughs because the judges ruling claims that Almighty God created the races white, black, yellow, malay and red, and he placed them on separate continents. And but for the interference with his arrangement there would be no cause for such marriages. The fact that he separated the races shows that he did not intend for the races to mix. He finds this is going to help their case in the U.S. Supreme Court since its a ruling not based on the Constitution in any way.

To get publicity for the case, the lawyer sends a reporter from Life Magazine (Michael Shannon) to take some pictures of the couple. He spends the day with them and photographs Richard and Mildred as they show affection for each other around the house and while watching television.

The Virginia Supreme Court also rules against Mildred and Richard which allows them to take the case to the U.S. Supreme Court. They are met with reporters afterwards and continue promoting their case. Back at their home, they ask the lawyer what angle can be used against them in the Supreme Court. Their lawyer admits that they’re going to use the children, with the opposition claiming that its unfair to bring biracial children into this world this is juxtaposed with all three of their kids running around, playing, happily.

The Lovings are not going to be present during the Supreme Court so Bernie asks Richard if he wants to make any statements. He simply says, “Tell the court I love my wife.”

Mildred gets a phone installed in the house shes staying at so she can receive calls in case any news comes in. Richard continues his work at a construction site, laying bricks. When he gets into his truck after work, he sees a brick wrapped in a magazine page the Life Magazine article on his marriage with a picture of Richard and Mildred watching TV. Richard looks around the site, paranoid at who knows about his family. A vehicle follows his truck so he speeds up and drives erratically to lose it. But when he gets home, he realizes he might have simply been paranoid since no car has followed him that far.

Time has passed. Mildred gets a phone call telling her the Supreme Court has struck down the country’s last segregation laws, unanimously. Mildred remains stoic and polite but beams at the news.

Now Richard is laying bricks again but this time on the house he was planning on building for Mildred and him in the beginning of the film. In Virginia, with their now family of five.

Over titles, we learn Richard died in a car accident just eight years later. Mildred died in 2008.

Quotes of Loving Movies

Richard Loving: [from trailer] Tell the judge I love my wife.
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The Dreamers (2003) Trailer and Top Movie Quotes

The Dreamers (2003) Trailer and Top Movie Quotes

Paris, spring 1968. While most students take the lead in the May ‘revolution’, a French poet’s twin son Theo and daughter Isabelle enjoy the good life in his grand Paris home. As film buffs they meet and ‘adopt’ modest, conservatively educated Californian student Matthew. With their parents away for a month, they drag him into an orgy of indulgence of all senses, losing all of his and the last of their innocence. A sexual threesome shakes their rapport, yet only the outside reality will break it up. Written by KGF Vissers

Best Quotes

Matthew: Yes, I’m drunk. And you’re beautiful. And tomorrow morning, I’ll be sober but you’ll still be beautiful.

Father: Listen to me, Theo. Before you can change the world you must realize that you, yourself, are part of it. You can’t stand outside looking in.

Theo: Papa’s full of shit.
Matthew: I think you’re lucky. Um, I wish my parents were that nice.
Isabelle: Other people’s parents are *always* nicer than our own, and yet for some reason, our own grandparents are always nicer than other people’s.

Matthew: 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’d been relayed back from row to row, spectator to spectator; until worn out, secondhand, the size of a postage stamp, it returned to the projectionist’s cabin. Maybe, too, the screen was really a screen. It screened us… from the world.

Isabelle: We do love you very much!
Matthew: I don’t want to be loved very much, I just want to be loved.

Isabelle: Oh, how sweet of you Matthew to keep my image next to your heart.

Matthew: I think you prefer when the world “together” means not “a million,” but just two.

Matthew: I wish you could step out of yourself and just look.

[first lines]
Matthew: The first time I saw a movie at the cinématèque française I thought, “Only the French… only the French would house a cinema inside a palace.”

Matthew: 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.

Matthew: I don’t believe in God, but if I did, he would be a black, left-handed guitarist.

Matthew: [about Theo] But he has never been inside you?
Isabelle: He’s always inside me.

Matthew: In this big, epic movie – everyone is an extra.

Isabelle: [while posing as the Venus de Milo] I can’t stop you, I’ve got no arms.

Matthew: This is not Chaplin and Keaton. This is Clapton and Hendrix.
Theo: Matthew, Clapton reinvented the electric guitar.
Matthew: Clapton plugs in a guitar, he plugs in an electric guitar and he plays it like an acoustic guitar. Hendrix plugs in an electric guitar, he plays it 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.

Matthew: I thought you had many lovers. I mean when I saw you for the first time, at the Cinématheque, you and Theo, you looked so cool, so sophisticated. Like a movie star.
Isabelle: I was. I was acting, Matthew

Isabelle, Theo: We accept you, one of us! One of us!

Matthew: As we walked, we talked and talked and talked about politics, about movies, and about why the French could never come close to producing a good rock band.

Isabelle: I entered this world on the Champs-Elysees, 1959. La trottoir du Champs Elysees. And do you know what my very first words were? New York Herald Tribune! New York Herald Tribune!

Theo: [reading from a book] 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 such sweetness, affability. Courtesy, restraint and generosity. A revolution is an uprising, a violent act by which one class overthrows another.

Isabelle: My parents fucked once in their lives. That’s why we’re twins, they didn’t want to make it twice.

Matthew: It makes films like crimes, and directors like criminals.

[Matthew has had unprotected sex with Isabelle]
Matthew: [in the tub, he sees blood]
Isabelle: Don’t be alarmed. It’s good news.
Theo: It only happens once a month.

Isabelle: Theo, Theo. Wake up.
Theo: [sleepily, eyes still closed] What is it?
Isabelle: I want you to listen.
Theo: Why?
Isabelle: Because. Theo?
Theo: Mm?
Isabelle: I love you. You know that?
Theo: I love you too.
Isabelle: You love me too? That’s funny. Are you listening? It’s forever, right?
Theo: What’s forever?
Isabelle: The two of us. Right?
Theo: Yes. Why did Matthew say that?
Isabelle: What did Matthew say?
Theo: That we’re monsters, freaks.
Isabelle: I just want you to tell me that it’s forever. It’s forever.

Matthew: Yes, I’m drunk. And you’re beautiful. And tomorrow morning, I’ll be sober but you’ll still be beautiful.

Isabelle: This is a test.

Theo: [to Matthew] Don’t forget your toothbrush!

[last lines]
Matthew: Listen to me for a second, okay? This is what they do. This is not what we do.
Matthew: [pointing to his head] We use this.
Matthew: We do this. We use this.
[kisses Isabelle]
Matthew: We use this.
[kisses Theo]
Theo: [speaking in French] Stop it!
Matthew: Isabelle. Come on. Isabe…

Isabelle: Pom pom, pom pom pom, turu turururu pom pom pom

Theo: Weren’t you just a tiny bit excited?

Isabelle: Name a film where someone tap dancing drives someone else crazy!
Matthew: Oh, I know this!
Isabelle: Come on! Quick! Quick!
Matthew: Top Hat! Top Hat! Fred Astaire’s dancing over Ginger Roger’s room. And she’s mad because he wakes her up. I’m right.

Matthew: It’s fucked up. It’s all fucked up.

Theo: [talking about his dad] God doesn’t exist, doesn’t mean *he* can take his place.
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