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In a film theory context, the term oneiric (which means "pertaining to dream") is used to refer the depiction of dream-like states in films, or to the use of the metaphor of a dream or the dream-state to analyze a film. The connection between dreams and films has been long established; "The dream factory" “...has become a household expression for the film industry”. The dream metaphor for film viewing is “one of the most persistent metaphors in both classical and modern film theory”, and it is used by film theorists using Freudian, non-Freudian, and semiotic analytical frameworks.

Filmmakers noted for their use of oneiric or dreamlike elements in their films include Luis Buñuel, Wojciech Has, the Marx Brothers, Andrei Tarkovsky, Lars von Trier, Krzysztof Kieslowski (e.g., The Double Life of Véronique from 1991) and David Lynch (e.g., Mulholland Drive). Film genres or styles noted for their use of oneiric elements include 1940s and 1950s film noir and surrealist films.

The French surrealist playwright and director Antonin Artaud argued that the American burlesque genre, with its bizarre, lush costumes, and its mixture of dancing girls, comedians, mime artists and striptease artists, has oneiric qualities.