Through the spectrum and language of cinematography, dream was transformed into a very special kind of experience, that sealed the audience’s conscience during the nineteenth century. With a quick retrospective into the films of the “dream” or oneirical genre, one can jump to the conclusion that European movie-makers cultivated this special category in a meticulous and refined way, as opposed to their American counterparts who used the dream with a certain clumsiness and naivety. However, in both the continental and the US movies, remarkable creators have proven that the spectator, once the lights are turned off and magic starts, gives to the dream the preponderance it deserves, either through an identification process or through the adoption of the cine-matographical codes and the conscious acceptance of this kind of illusionary “reality”. According to Jean Cocteau’s definition, “Cinema is the art that can mainly describe the Dream”, more than any other art form.