There is an old adage that “every therapist needs a therapist”. Even while the treatment was still in its infancy, Sigmund Freud said all psychoanalysts should “submit” themselves to being analysed. Recent cinema has been acutely aware of that painfully unbreakable cycle. In the likes of If I Had Legs I’d Kick You, Mary Bronstein’s hallucinatory Rose Byrne vehicle in which she plays a therapist and floundering mother caught in a downward spiral, or 2022’s Smile, in which a psychiatrist (Sosie Bacon) is pursued by a malignant metaphor for her poor mental health, therapists are as much at the mercy of their traumas as anyone else.
Rather than being relegated to supporting character status, as they long have been in everything from Good Will Hunting (1997) to The Sopranos, film is finally giving therapists their moment on the couch. Within the space of a month in UK cinemas, two more trick cyclists are taking on lead roles. Backrooms sees Renate Reinsve totally unravel from a secure, calm and collected psychiatrist and self-help author (albeit one who lives alone and subsists on a diet of lacklustre ready meals) to a nervous wreck attempting to navigate the uncanny corridors of her own mind. Meanwhile in Rebecca Zlotowski’s A Private Life, a Francophone Jodie Foster takes on the role of shrink turned sleuth, deciding to investigate the death of a former client without realising she is trying to make up for her shortcomings as a spouse and parent.
