Psychoanalysis has been tormenting society with its uncomfortable conclusions about your mum for the last century. It has had a huge influence on film, giving filmmakers the opportunity to explore the dark dank recesses of the human psyche while still entertaining with vague references to “penis envy” and “momma’s boy”. We here at Best For Film have dedicated our lives to reducing entire film genres, movements and occasionally random objects (like glasses, or zoos) into easy-to-read lists, and as such we have launched a new blog series, starting with this one: Psychoanalysis in 10 Easy Films.
This is the final part of a trilogy of equally amazing films, but because it is the culmination of a series of dark and dangerous events is PRECISELY why it is so brilliant. When films have a satisfying payoff full of delicious goodness, a climax that rewards you for taking the time to watch it; it’s like eating your favourite dinner then sitting back and revelling in that ‘just full enough’ feeling. There are few films that do this better than Return of the King.
Based on Jack Kerouac’s semi-autobiographical masterpiece, On The Road is awash with promiscuous sex, rambling prose and cool jazz. Fans of the book may appreciate the loosely structured narrative, but will soon tire of the repetitive plot developments which become so monotonous as to lack reason and purpose.
Viggo Mortensen has earned himself a reputation as one of the better leading men in Hollywood , and particularly as his newfound status as David Cronenberg’s muse in films like A History of Violence and A Dangerous Method. Often playing enigmatic and charismatic characters, shrouded with mystery and an epic backstory, does the same apply to Mortensen himself? In honour of his role in this week’s On The Road, let’s find out!
A double helping of Aragorn? Don’t mind if we do.
Trailer released for a film about drugs, jazz and aimlessly drifting across America. All the ingredients for an instant cult classic then.
The master of body horror turns his transformative talents to the mind in this story of sex, neurosis and academic one-upmanship. Michael Fassbender makes founding analytic psychology look as easy as falling off a log (which probably subliminally represents the penis), and – gasp! – Keira Knightley’s actually quite good. Analyse THAT, Viggo.