Brad Anderson
Session 9

There are films where the most important character is the setting, the location. This is the case with "Session 9," an excellent thriller from 2001 directed by Brad Anderson, who later created what I consider a little gem: "The Machinist."

The plot is quite straightforward: an asbestos removal company is called to clean up a psychiatric hospital closed in 1985. The hospital will be the reference point of the film, a living stage for the various mental inclinations of the protagonists. Protagonists like Gordon Fleming (Peter Mullan), the "leader" of the expedition, who will see all his nightmares and family problems manifest within the structure. Coming to Gordon's aid and "opposing" him is Phil, already known for his role in the TV series CSI Miami as the legendary Horatio.

The first few minutes of "Session 9" might suggest a typical ghost story, but there are no spirits or ghosts to be found. The references to great films of the genre are indeed present: the documentary-style cut similar to "The Blair Witch Project," the madness of "Shining," ending with a psychological twist that would make "The Sixth Sense" envious. However, everything is shot in a way to appear as simple as possible, to expose the challenges and problems of the various characters.

During the filming in cramped and dark spaces, director Brad Anderson had the brilliant idea of following all the movements of the protagonists with the camera, allowing us to explore the intricate details of Danvers Hospital. Less emphasis on dialogue to prioritize tension. This continual discovery of the corridors, the rooms, the places of the immense psychiatric structure seems designed to immerse us in the atmosphere of madness and confusion that will emerge. Indeed, the adept Anderson (in my opinion, a great director) deserves credit for surprising us with intelligent and never trivial ideas precisely in those moments of apparent "calm." The unforgettable and claustrophobic sequence where one of the workers is hunted by something unknown is remarkable...

The second half of the film is a continuous succession of unexpected revelations and twists. Additionally, enriching the film even further is Uta Briesewitz's cinematography, which has the merit of creating a strong contrast between the bright outdoor environments and the "oppressive claustrophobia" of the interiors.

A very good thriller, with various nuances and a marked psychological imprint that will evolve in Anderson's already mentioned complex second work, "The Machinist." The director succeeded in creating a great film despite a minimal budget and the little publicity the film received, and he deserves credit for creating an original and "personal" story, distinct from various Hollywood productions. Certainly, it may not be a masterpiece, but it is undoubtedly a cinematic work worthy of consideration...