Freud’s Last Session (2023)
Freud’s Last Session aims to depict a profound intellectual showdown but falls short of delivering impactful moments. Taking place on the brink of World War II, the movie imagines a fictional encounter between psychoanalyst Sigmund Freud (played by Anthony Hopkins) and author C.S. Lewis (portrayed by Matthew Goode). The concept itself is undeniably fascinating: a clash of ideas about God’s existence between these two intellectual giants, set against a world on the edge. However, the actual presentation lacks any potency.
The standout aspect of the film lies in the exceptional performances by its lead actors. Hopkins shines with his portrayal of Freud, capturing both his brilliance and his cantankerous nature with a glint in his eye. Goode holds his ground opposite the seasoned actor, portraying Lewis with a subtle conviction that makes him a worthy adversary. Their verbal sparring forms the core of the movie, showcasing moments of genuine intellectual intensity. One memorable scene involves Lewis challenging Freud’s dismissal of religion as mere illusion—a moment that sparks both contemplation and emotion. But most of the focus is on Freud’s talking and Lewis’s quiet listening. I’ve read a lot about both of these historical figures, and it is hard to believe that Lewis wouldn’t have been a more intellectually challenging interlocutor.
Despite the strong performances, the film falters in other areas. With most scenes confined to Freud’s study, the singular setting becomes tedious, and attempts to intersperse it with flashbacks come across as contrived. The historical backdrop—the impending war—feels underutilised and fails to leave a lasting impact. The sense of urgency adds an interesting layer to the film, but it falls short of truly delving into how these events impact the characters’ beliefs.
The dialogue, despite aiming for deep insights, mostly misses the mark. The film heavily relies on characters explaining their philosophies rather than letting them naturally unfold through conversation—mostly dominated by Freud’s talking and controlling the dialogue. This approach makes the intellectual debates seem rehearsed, lacking the authentic spontaneity of a real discussion. It’s akin to watching a tennis match where players announce their shots before making them—that’s the vibe you get here.
Similarly, while the musical score is competent, it doesn’t quite enhance the film as intended. It leans on typical orchestral swells to emphasise key moments without delving into deeper thematic layers that could have resonated with its philosophical themes. Likewise, the cinematography serves its purpose but lacks creative inspiration. The muted colour palette reflects the overall tone of the film but fails to deliver any visually striking moments.
Freud’s Last Session aims to be a thought-provoking exploration of faith and reason. The lead performances are solid, and the premise is certainly intriguing. However, it struggles due to its confined setting, clunky dialogue, and lacklustre technical aspects. Despite a few scattered instances of intellectual stimulation, the movie’s flaws overshadow them. In the end, Freud’s Last Session is like a boxing match between heavyweights that turns out to be more of a lightweight showdown. Some may wish for more if they enjoy historical dramas and philosophical debates. If you’re in search of a truly impactful exploration of faith and reason, you might want to explore other options.