Freud’s Last Session

It’s arguably the greatest what-if in the long-standing debate between atheism and  Christianity. Two intellectual titans from both ends of the spectrum collide to engage in the lost art of civil discourse about the existence of God and the meaning of life.

In Freud’s Last Session, the fictional meeting of minds between renowned psychologist/atheist Sigmund Freud (Anthony Hopkins) and atheist-turned-Christian author C.S. Lewis (Matthew Goode) takes place at the psychoanalyst’s humble London home and not on a grand debate stage. The setting for the showdown might be unexpected, but it doesn’t mean that the film lacks drama or intrigue; their battle of wits is elevated by compelling dialogue, profound anecdotes, flashbacks, and dream sequences.

Based on an off-Broadway play of the same title, the hypothetical two-hander harkens back to a bygone era when human beings could respectfully and productively disagree on tough topics. In today’s increasingly vitriolic and hypersensitive society, Freud’s Last Session is a masterclass in how to engage in respectful and constructive dialogue with people you disagree with.

Anthony Hopkins is magnificent as Sigmund Freud. He slips into the role seamlessly and delivers a layered and riveting portrait of a man whose mental faculties remain as sharp and defiant as ever despite suffering from oral cancer. Adding dramatic flair and color to his portrayal of one of the greatest minds of modern times, he makes the character relatable, illustrating how Freud could be flawed despite his brilliance, with an occasional tendency to contradict his own beliefs. Matthew Goode as C. S. Lewis is equally good (pun intended). He matches Hopkins at every turn but in an understated way, and captures Lewis as an idealistic and compassionate literary scholar — the perfect foil to Hopkin’s ferociously brilliant Freud.

Set on September 3, 1939, at the dawn of World War II, Director Matthew Brown faces the herculean task of making a film that’s largely focused on words and intellectual exercise visually stimulating for the audience. He does so by incorporating a surfeit of flashbacks and deeper dives into the lives of both Freud and Lewis. Though there are moments when the cutaway scenes take the momentum away from the story, in its entirety, the method works when it manages to escape the constrictions of the stage to make the whole experience more cinematic.

What I especially like about the film is that it doesn’t insult the audience’s intelligence. Freud’s Last Session deals with complex topics without attempting to simplify things. It doesn’t add anything too incendiary either. It is at its core a civilized argument between two brilliant yet polar opposite minds.

In an industry that’s clamoring for superhero showdowns, it’s refreshing to see a film that advocates for resolving conflict through reasoned discussion rather than violent altercations. And in a society obsessed with culture wars, Freud’s Last Session might just be our much-needed therapy.