In 1984, the international audience discovered Syrian cinema through ‘Dreams of the City’, a masterpiece of Arab cinema1. The city is Damascus. The dreamer is an adolescent whose evolution is similar to the director’s. When his father died, the latter left Quneitra, his native town in Golan, and migrated to Damascus. A new life starts for the mother and her children in a capital offering so vast possibilities. The young man is a witness to Syria in the fifties, the only democratic era of its history. Like other films by Mohamad Malas, ‘Dreams of the City’ is based on real facts and, in a powerful and poetical cinematic language, shows the influence of History on life and imagination.