---
title: "The Sessions"
year: 2012
kind: "film"
canonical: "https://film.one/film/the-sessions"
fi1m_id: "the-sessions"
imdb_id: "tt1866249"
tmdb_id: 113947
wikidata_id: "Q514416"
fi1m_score: 79
critics_score: 78
critics_reviews: 21
published: "2026-10-01T22:16:59.775194+00:00"
updated: "2026-10-01T22:17:07.528027+00:00"
region: "DE"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The Sessions (2012)

Directed by Ben Lewin · 1h 35m · FSK 12 · Drama, Romance, Comedy

## Identity

The Sessions

- **Canonical:** https://film.one/film/the-sessions
- **Type:** Film
- **Fi1m ID:** the-sessions
- **IMDb ID:** tt1866249
- **TMDB ID:** 113947
- **Wikidata ID:** Q514416
- **Same entity:** https://www.imdb.com/title/tt1866249/, https://www.themoviedb.org/movie/113947, https://www.wikidata.org/wiki/Q514416

**Fi1m score: 79** · Critics 78 from 21 reviews

*In a sentence:* A sex surrogate offers practical advice; the priest has rather more to think about

> Ben Lewin’s *The Sessions* is a warm, frank comedy-drama about sex and disability, carried by John Hawkes and Helen Hunt. The filmmaking is ordinary and some moral questions get short shrift, but the intimacy feels earned.

## Synopsis

Mark (John Hawkes) is a disabled man seeking sexual intimacy. Cheryl (Helen Hunt), a sex surrogate, offers practical help, while Father Brendan (William H. Macy), Mark’s priest, provides someone to consult about the moral questions. Mark has to explain what he wants, confronting embarrassment as well as his physical limitations. With Cheryl, the conversation concerns bodies and the work of becoming comfortable with another person. With Father Brendan, his desires become a matter for spiritual advice, with humour finding its way into a discussion Mark takes seriously. Getting help means speaking openly about something he finds difficult to discuss.

## Review

*The Sessions* is good company for a subject that films so often approach with a lowered voice. Writer-director Ben Lewin treats Mark’s wish for sexual intimacy as a reasonable human want, and gives embarrassment room to be funny without making disability the joke. We recommend it for the performances, with some patience required for the rather plain filmmaking. It does, however, hurry past some of the harder questions raised by Mark’s encounters.

John Hawkes gives Mark enough wit and vulnerability to prevent him becoming merely someone whose progress we are supposed to applaud. Humour belongs to his personality, which matters in a film where every awkward exchange could otherwise become a lesson in being kind. The performance allows need, self-consciousness and pleasure in other people’s company to exist together. Mark is engaging without having to spend every moment proving that he deserves affection.

Helen Hunt is just as important as Cheryl, the sex surrogate whose practical approach makes the intimate conversations believable. Her restraint gives the relationship weight: she need not underline every sympathetic response for us to understand that she is paying attention. We were moved by her matter-of-fact exchanges with Mark about sex, because she allows his embarrassment without making a ceremony of her patience. Both performances make frankness feel possible even when confidence is in short supply.

William H. Macy’s Father Brendan supplies a different kind of listening, and the discussions with the priest give Mark’s desires a moral complication. These scenes also contain some welcome humour, although the dialogue can make the priest sound too conveniently equipped with a response. Ben Lewin seems keener to keep the conversation companionable than to follow its harder implications. That limits the drama without cancelling the warmth of the performance.

Geoffrey Simpson’s cinematography is serviceable, and the static staging gives it little chance to do more than accommodate the conversations. John Mott’s production design is similarly unobtrusive; we seldom find ourselves studying the surroundings instead of the people. There is sense in that restraint, but the images do not always contribute enough when the dialogue has already explained a feeling. Several conversations might have gained from less explanation and a little more trust in a pause.

Lisa Bromwell’s editing keeps the film brisk, though some emotional complications need longer than the story gives them. At 95 minutes, there is little danger of exhaustion, but more time spent on uncertainty might have helped. Marco Beltrami’s music supports the tenderness without becoming what we remember; the actors’ voices are more distinctive. The principal weakness is how readily the film smooths a difficult subject into something agreeable.

This suits an evening when we want adults to talk about sex without behaving as though the subject has just been invented. Anyone hoping for a searching examination of the ethics will have to supply some of it afterwards. Watch it for John Hawkes and Helen Hunt, and allow for a script that is sometimes too anxious to put everyone at ease.

*Fi1m score 79, published 1 October 2026.*

## What the critics say

Most critics respond warmly to The Sessions, with praise centred on its performances and frank, humane treatment of sex and disability. John Hawkes is singled out for conveying Mark’s wit, vulnerability and warmth, while Helen Hunt draws admiration for her restraint and emotional openness. The reviews frequently credit the film with finding humour in awkward intimacy without patronising its central character, and with being moving without relying on misery or heavy melodrama.

Reservations concern the conventional storytelling more than the acting, and the spread runs from enthusiastic to mixed, with no outright negative verdicts. IndieWire finds the approach to sexuality intelligent but the storytelling talky and static. Radio Times is more troubled by the way the film glosses over moral dilemmas. The Skinny praises its frankness while questioning the unequal treatment of nudity. Elsewhere, complaints about thinness, sentimentality and an overly brisk resolution temper an otherwise favourable consensus.

## Straight answers

**Is The Sessions worth watching?**

*The Sessions* is worth watching for John Hawkes and Helen Hunt’s warm, frank performances, and we score it 79 out of 100. We recommend it for an adult comedy-drama about sex and disability, though the plain filmmaking and hurried treatment of difficult moral questions limit its depth.

**How long is The Sessions, and what is it rated?**

*The Sessions* runs 1h 35m and is rated 12 by the FSK in Germany. It is a drama and romance film.

**Where can I watch The Sessions in Germany?**

*The Sessions* is available to rent from Apple TV and Amazon Prime Video from €3.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is The Sessions, and is it suitable for children?**

*The Sessions* has a UK 15 certificate and is not suitable for children under 15; its frank treatment of sex makes it an adult watch. Mark’s conversations with a sex surrogate concern bodies, desire and embarrassment. We recommend it to older teenagers and adults comfortable with intimate sexual discussion.

**How does The Sessions compare to Coming Home?**

*The Sessions* is the warmer, more conversational choice beside [*Coming Home*](https://film.one/film/coming-home), whose veterans’ ward scenes offer the more remarkable filmmaking. Both explore disability, desire and intimacy, but *Coming Home* develops into a love triangle within a Vietnam drama. We favour *The Sessions* for humour and practical conversations about sex, while *Coming Home* offers stronger atmosphere before settling into a more conventional romance.

**What should I watch after The Sessions?**

After *The Sessions*, try [*Coming Home*](https://film.one/film/coming-home) (1978, Fi1m 76): For another adult account of disability, desire and the complications of intimacy. Then [*The Lunchbox*](https://film.one/film/the-lunchbox) (2013, Fi1m 75): A quieter courtship, sustained by attentive performances and the courage of small disclosures; and [*Ali: Fear Eats the Soul*](https://film.one/film/ali-fear-eats-the-soul) (1974, Fi1m 88): An unlikely romance takes prejudice seriously without denying its lovers warmth or awkwardness.

### Reviews we read (21)

- **RogerEbert.com**, Roger Ebert (3.5/4): The review is warmly positive about the film. It singles out the performances, especially Helen Hunt’s, for praise. [Read](https://www.rogerebert.com/reviews/the-sessions-2012)
- **The Guardian**, Jeremy Kay (85/100, inferred): The critic calls the film an unexpected crowd-pleaser that celebrates life rather than sinking into misery. They single out John Hawkes’s mesmerising performance and the story’s grace, humour and tenderness. [Read](https://www.theguardian.com/film/2012/jan/24/sundance-2012-the-surrogate-review)
- **Variety**, Peter Debruge (85/100, inferred): Debruge calls the film an exceptional, expertly acted crowd-pleaser with tenderness and humor. He especially praises John Hawkes’s performance for conveying Mark’s spirit and vulnerability despite the role’s physical constraints. [Read](https://variety.com/2012/film/reviews/the-sessions-1117946898/)
- **Time Out**, Guy Lodge (4/5): Lodge gives the film four stars, indicating a positive verdict. The available description singles out its deeply felt approach to disability. [Read](https://www.timeout.com/movies/the-sessions)
- **Total Film**, Ellen E (4/5): The review praises the film for avoiding patronising disability tropes and treating O’Brien as a rounded person. It singles out the strong performances by John Hawkes, Helen Hunt and William H. Macy. [Read](https://www.gamesradar.com/the-sessions-review/)
- **IndieWire**, James Rocchi (B): Rocchi finds the film standard-issue but humane and intelligent, with an unusually adult approach to sexuality. He singles out the grounded performances and frankness about sex, while criticizing the talky, static storytelling. [Read](https://www.indiewire.com/criticism/culture/review-life-lust-find-a-way-in-well-performed-but-standard-issue-the-sessions-250673/)
- **Evening Standard** (75/100, inferred): The critic calls the film a must-see despite finding parts of it flimsy and smug. They praise John Hawkes’s performance and object to the cheesy ending. [Read](https://www.standard.co.uk/culture/film/the-sessions-cert-15-94-mins-review-8214563.html)
- **Slant Magazine**, R. Kurt Osenlund (3/4): Osenlund finds the film deeply humane, tender, and life-affirming, though he notes it can feel prematurely finished. He especially praises Helen Hunt’s poignant, open performance as Cheryl. [Read](https://www.slantmagazine.com/film/the-sessions/)
- **Vulture**, David Edelstein (75/100, inferred): Edelstein finds the film charming and moving, despite its briskness and lack of depth. He especially praises Helen Hunt’s emotionally restrained performance and the tender closing moments. [Read](https://www.vulture.com/2012/10/movie-review-the-sessions.html)
- **Empire**, Angie Errigo (70/100, inferred): Errigo finds the film tender, moving and uplifting, though somewhat formulaic. She praises the uniformly strong performances and the sensitive, frank handling of its subject. [Read](https://www.empireonline.com/movies/reviews/sessions-review/)
- **Los Angeles Times**, Betsy Sharkey (70/100, inferred): Sharkey finds the film humanistic, moving, and refreshingly free of melodrama. She especially praises Helen Hunt’s brave, pragmatic performance as the sex surrogate. [Read](https://www.latimes.com/entertainment/la-xpm-2012-oct-18-la-et-mn-the-sessions-review-20121019-story.html)
- **Screen Daily**, Anthony Kaufman (65/100, inferred): The page is a review, but its paywall shell exposes no verdict. It provides no readable praise or criticism to summarize. [Read](https://www.screendaily.com/the-sessions-/5036911.article)
- **Radio Times**, Stella Papamichael (3/5): The review is mixed, finding the film frustrating for glossing over much of the moral dilemma. It notes the story’s wicked humour and the guidance of Mark’s priest as strengths. [Read](https://www.radiotimes.com/movie-guide/b-fd4x2u/the-sessions/)
- **Collider**, Matt Goldberg (A-): Goldberg finds the film inspirational, funny, and heartwarming despite its risk of sentimentality. He especially praises John Hawkes’s nuanced, unforgettable lead performance. [Read](https://collider.com/the-sessions-review/)
- **/Film**, Germain Lussier (9/10): The critic calls the film hilarious, brave, and unusually special. He praises the mature handling of its sensitive subject matter and highlights John Hawkes’s performance. [Read](https://www.slashfilm.com/519459/the-surrogate-2013-oscar-contender-john-hawkes-helen-hunt-william-macy-sundance-2012/)
- **Eye for Film**, Sophie Monks Kaufman (85/100, inferred): The critic finds the film charming and emotionally insightful. She especially praises John Hawkes’s warm, spirited performance and the film’s tender treatment of awkward intimacy. [Read](https://www.eyeforfilm.co.uk/review/the-sessions-2012-film-review-by-sophie-monks-kaufman)
- **Den of Geek**, Ron Hogan (4/5): Hogan calls the film touching, heartfelt, and entertaining, praising its sensitive handling of a difficult subject. He especially singles out the performances of John Hawkes, Helen Hunt, and William H. Macy. [Read](https://www.denofgeek.com/movies/the-sessions-review/)
- **Digital Spy**, Simon Reynolds (4/5): The review finds the film charming and emotionally affecting, avoiding both bleakness and cloying sentimentality. It singles out the genuine chemistry and strong performances from John Hawkes and Helen Hunt. [Read](https://www.digitalspy.com/movies/bfi-london-film-festival/a429683/the-sessions-review-bfi-london-film-festival-2012/)
- **The Skinny**, Philip Concannon (★★★★): The critic finds the film witty, moving and refreshingly frank, though its direction is mundane. They praise the warm, understated performances but fault the double standard in how nudity is shown. [Read](https://www.theskinny.co.uk/film/new-releases/the-sessions)
- **Paste**, Annlee Ellingson (7.2): Ellingson finds the film a frank, compelling exploration of sex and disability, with only a minor structural misstep. She especially praises the stellar performances, highlighting John Hawkes’s sensitive and witty portrayal of Mark. [Read](https://www.pastemagazine.com/movies/the-sessions)
- **The Wrap** (75/100, inferred): The critic finds the film unusually smart and effective overall, despite clunky scenes with the priest. They praise the believable, intimate scenes between John Hawkes and Helen Hunt, especially Hunt’s unguarded performance. [Read](https://www.thewrap.com/sessions-review-sex-surrogate-story-works-better-bed-church-61301/)

## Details

- **Director:** Ben Lewin
- **Director:** Ben Lewin
- **Writer:** Ben Lewin
- **Cinematography:** Geoffrey Simpson
- **Editor:** Lisa Bromwell
- **Music:** Marco Beltrami
- **Production design:** John Mott
- **Costume design:** Justine Seymour
- **Producer:** Judi Levine, Ben Lewin, Stephen Nemeth
- **Cast:** John Hawkes as Mark; Helen Hunt as Cheryl; William H. Macy as Father Brendan; Moon Bloodgood as Vera; Annika Marks as Amanda; Adam Arkin as Josh; Rhea Perlman as Mikvah Lady; W. Earl Brown as Rod
- **Runtime:** 1h 35m
- **Certificate (FSK):** 12
- **Release (Germany):** 2 May 2012
- **Genres:** Drama, Romance, Comedy
- **Budget:** $1 million
- **Box office:** $9 million
- **Trailer:** https://www.youtube.com/watch?v=6T7vqxwuWEM

## Where to watch in Germany

- Apple TV: rent €3.99, hd
- Amazon Prime Video: rent €3.99, hd
- Amazon Prime Video: buy €4.99, hd
- Apple TV: buy €9.99, hd

*Checked 2026-10-01.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HU, IE, IL, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PL, PT, SE, SG, TR, UA, US, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2013: Best Supporting Actress (nominated)
- Sundance Audience Award: U.S. Dramatic 2012: Sundance Audience Award: U.S. Dramatic (won)
- Sundance Special Jury Prize for Ensemble Cast 2012: Sundance Special Jury Prize for Ensemble Cast (won)

## If you liked this

- *Good Luck to You, Leo Grande* (2022): Frank sexual conversation becomes compelling drama through patience, humour and two attentive performances.
- *37 Seconds* (2019): Another candid treatment of disability and sexual curiosity, with a persuasive, complicated heroine.
- *Coming Home* (1978), Fi1m 76: For another adult account of disability, desire and the complications of intimacy. — [Fi1m page](https://film.one/film/coming-home.md)
- *The Lunchbox* (2013), Fi1m 75: A quieter courtship, sustained by attentive performances and the courage of small disclosures. — [Fi1m page](https://film.one/film/the-lunchbox.md)
- *Ali: Fear Eats the Soul* (1974), Fi1m 88: An unlikely romance takes prejudice seriously without denying its lovers warmth or awkwardness. — [Fi1m page](https://film.one/film/ali-fear-eats-the-soul.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-sessions