An adaptation of Gilbert Adair's autobiographical novel, The Dreamers, depicts the political upheaval of French cinephilia, from the defense of the Cinematheque of Langlois to the barricades of May 68. This reconstitution ofHistory tums out to be a reinvention by memory, almost commemorative, which goes through the filter of cinephilia. Bertolucci uses an iconography of May 68 and of cinephilia represented by emblematic signs: archives, names, places ofmemory, books and posters, threads and controversies, memorable quotes and fetish scenes. The Dreamers shows how intertextual movies of contemporary filmmakers may reconsider the memory of cinema, its masterpieces, but also the places, practices and emotions attached to him. Here, in the register of filmic intertextuality, the visual reinvention of cinephilia passes through a fetishistic imitation of memorable scenes. But the work of cinephilia is made obvious by the mise en scene or the editing of film clips, true cinematic quotes that comment the plot as well as filmmaker's cinephilia.