London, 1939. The Second World War has barely begun, but already the threat of bombing looms. It is in this tense context that a summit meeting takes place not between two politicians, but between the writer CS Lewis and the psychoanalyst Sigmund Freud, in the latter’s residence. At the start of his forties, the first is in the prime of life. Conversely, the second, at 83, is dying of cancer. Moreover, their respective views on life, death and the afterlife are also polar opposites: Lewis is an apologist for the Christian faith, while Freud swears by science. Hence the debate on the existence of God which ensues in Freud’s Last Sessionwith Matthew Goode and Anthony Hopkins on opposing sides.
Fictional, the film is based on a play by Mark St. Germain, co-writer with director Matthew Brown. Moreover, we quickly sense the latter’s desire to decompartmentalize the action, which is mainly confined to Freud’s office.
Thus we witness, through reminiscences provoked by the discussion between the two men, various pivotal events in their respective lives. We think of this walk in the forest, richly symbolic, during which a very young Freud escapes the vigilance of his father and sets off on a solitary exploration. Or even these memories, both painful and foggy, from the front, during the First World War, from which Lewis returned traumatized.
Lewis who, after years of atheism, reconverted to the Anglican faith at age 32. Professor at the University of Oxford, he became a fervent cantor of Christianity. Convictions that his host, a non-practicing Jew, takes great pleasure in undermining almost from the outset.
Everything is staged with elegance and fluidity by Matthew Brown. If the director shows invention during the flashbacks, he limits himself the rest of the time to highlighting his two stars by favoring a good restraint. Note: the quality of the photo direction of Ben Smithard, who already knew Anthony Hopkins from the film The Father (The father).
Great duel of actors
About the actor, the star of Tea Silence of the Lambs (The silence of lambs) and of Howards End (Return to Howards End) delivers, unsurprisingly, a memorable performance in the role of the father of psychoanalysis. Playing the less flamboyant role of CS Lewis, Matthew Goode is also excellent. A beautiful duel of actors.
Like its protagonists, the film is not only interested in the question of the presence or absence of the divine. Gradually, in fact, it is their entire relationship with others, relatives and friends, that the two men come to evaluate.
In this regard, the film takes a close interest in Anna Freud: herself a gifted psychoanalyst, she maintains a codependent relationship with her father. Interesting in itself, this part is, unfortunately, poorly integrated into the rest of the film.
In that the main plot is focused on the spiritual and intellectual confrontation between Lewis and Freud, a confrontation which has, among other consequences, that of placing them face to face with themselves. It’s exciting, and sufficient.
However, each time this main plot is abandoned in favor of the distinct subplot featuring Anna Freud and her torments, the change in focus not only appears arbitrary, but also ensures that we have the impression to change films.
Nevertheless, the result turns out, overall, to be quite captivating, even surprisingly moving. In fact, the film shows how, by exposing your differences of opinion, it is possible to question your own convictions and, if not changing them, to achieve an increased form of serenity.