A Última Sessão de Freud

The script is thought provoking as you follow a neurologist who discovered psychoanalysis conversing with a Christian author who wrote The Chronicles of Narnia. ALSO, the events take place on the day before WWII and both gentlemen are equally brilliant as they are stubborn, as seen with each of the many discussions-turned-arguments that take place. Transitions and flashbacks are heavily utilized to portray character depth, but whether it's a particular style of acting or the timing of each scene paired together, this format ultimately doesn't work. Anthony Hopkins and Matthew Goode showcase their individual acting talent with long monologues and fluctuating emotions, but in the pivotal moments of occupying a scene together, the chemistry never quite flourishes. However, director Matt Brown keeps the viewer engaged by allowing us to be an unbiased fly on the wall rather than purposely tilting the conversation in one direction. The story feels restrained, most likely due to the subject matter, but that won't affect the enjoyable experience that many will have.

"Freud's Last Session" comes as a huge disappointment for me. This fictionalized encounter between groundbreaking pyschoanalyst Sigmund Freud (Anthony Hopkins) and writer C. S. Lewis (Matthew Goode), on the early days of World War II with the first German bombers coming to England, doesn't challenge viewers in asking themselves about what they're trying to figure out while challenging themselves about the nature of man and if God exists or not (Freud is an atheist; Lewis is a Christian believer).

Adapted from Matt Brown's play, the material is poorly translated to the screen which doesn't allow a solid 15 minutes with both of those characters alone in their session without coming back and forth between some background moments from each character, or either some present situations with the threats of bombing or Freud's poor health that needs constant care from his daughter, of which we have some tense revelations about her relationship with her dominating father. And they tried so hard to make it a plot twist when it comes about that character and her secretary that it was annoying - specially if you know that while Freud didn't condemn homosexuality as a moral issue, he didn't want them near him (read Paul Roazen's works on him).

One sort of expects this being a psychoanalysis session rather than a weird chatting between famous authors with opposite views. For the life of me, as it wasn't a session in fact, I still don't have a clue on what Lewis was doing there. The verbal duels are the moments we wait for, there are so many interesting bits and exchanges between them but as a whole it all falls flat because either the dialogue is not that brilliant; the editing makes it all look like a tennis match - there's not a single moment for some monologue or some plan sequence; and the constant sidetrack of past moments that tries to build some character, or show some background but it's all disengaging and tedious.

A film that works with such ideals and challenges about mankind, God, faith and human relations while opposed or favorable to all that must have some coherence between action and dialogues, to create something that we in the audience might have question ourselves or haven't thought about. It must create some excitment even if those issues aren't all that thrilling (to some) and stay in the "boring" play format without distractions. If there's a play and film adaptation that translated such sentiment in a brilliant way was "The Sunset Limited", with Samuel L. Jackson and Tommy Lee Jones. Simple through actions as it stays in a small apartment room and the brilliance from the complex dialogues becomes a fascinating and mindblowing experience. Hopkins and Goode don't share the same dynamic despite being good performers. The excessive use of humor and the many interruptions in their digressions didn't help, and we perceive them as bitter figures that don't reach any enlightning conclusion.

Here's a film that crushed any previous and possible good expectations that I could have about presenting a challenging duel of opposed views from great minds of the 20th century, starring two favorite actors of mine. Its flawed and distractive presentation left me emptied out and waiting for more. Sadly, it delivered so little that either Freud and Lewis still became mysteries to me, and only their works or books about them will solve a little such mystery. I'd rather see Freud's first session, instead. 5/10.

I respect S Freud as an early but pioneering psychologist, and I very much admire C. S. Lewis as a humanist and fiction writer. Whether this meeting between Freud and Lewis really happened doesn't matter so much, I think. What matters is that it's a fascinating concept to imagine the two men debating science vs religion, and this film does a very decent job of portraying this discussion.

While I wouldn't go so far as to call this the most moving film I've ever seen - I think Shadowlands for example was far more moving and The Soul Keeper ( a film about Jung and his female patient ) was more intriguing - I did genuinely find Freud's Last Session to be philosophically poignant. The discussions between Freud and Lewis are intellectually sound and do ask those age old questions, such as if God is good, why is there suffering? A question I guess we all grapple with in one way or another.

This film did remind me a bit of In Lambeth the other play about a fictional meeting between Thomas Paine and William Blake which, while quite different, approached the two sides of a philosophical debate in a similarly genuine and interesting manner.

Ultimately, there is quite a good amount of wisdom and intellectual content in Freud's Last Session and for that I found it fun, mildly moving and worthwhile. The cinematography and acting are decent. If you like psychology, philosophy and films that are really just play's on screen, then I hope you'll enjoy this.

There is a recent outbreak of films made for people past puberty and this film is one of them. Serious issues are discussed. Thoughts are provoked. Both actors (and the actresses who get less flamboyant screen time) play intelligent philosophers grappling with something we all have to face - is there an eternity? Or oblivion? What prompts a genocide by humans to eliminate theirnown species? No flying cars or superheros, just intelligent adults grappling with serious questions.

Anthony Hopkins fills his unpleasant character with a minimum of scenery chewing, and Matthew Goode was a pleasant surprise, keeping his more quiet character in the mental battle. But the little known story of Anna Freud is tragic and brings real emotion to the story. A grown up film (sorry, Barbie).

Strictly evaluated as an opening-to-closing credits endeavor, Freud's Last Session isn't a terrific film (probably more like 6-stars). But director/writer Matt Brown's effort features enough interesting philosophical nuggets-bolstered by one terrific acting performance-to be enjoyable for those who may sit down to watch it.

For a very basic overview, Freud's Last Session imagines a fictional encounter-which may or may not have actually occurred-between the titular psychoanalyst (Anthony Hopkins) and Christian apologist C. S. Lewis (Matthew Goode). As the two trade philosophical worldviews in Freud's home, the doctor's daughter Anna (Liv Lisa Fries) struggles with her own relationship with her famous father alongside a closeted relationship with colleague Dorothy Burlingham (Jodi Balfour).

I'm not entirely sure if Freud's Last Session has ever been produced as a stage play, but if so that might actually be the better format for it. With the core of the film being an intellectual sparring match between two academics, it's a bit of an odd fit for a big-screen format or presentation. Brown tries to flesh things out with the Freud daughter plotline and various flashbacks, but those avenues feel a bit forced and ultimately serve to take the focus off the "main event".

Fortunately, the movie has two things squarely in its corner: First, the back-and-forth repartee truly does raise some food for thought (if treading somewhat familiar religion vs atheism ground). A few lines really stuck with me. Secondly, Hopkins continues to provide transformative performances. Fans of his won't regret the admission just based on his turn alone here.

Overall, I settled on 7/10 stars for Freud's Last Session. Technically it isn't even "that good" of a flick, but the Hopkins performance and general setup are enough that those even nominally interested in the premise can find enough to enjoy.