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更新时间：2024-04-11 15:45
详细剧情
擅長在作品中處理人與人的親密感的濱口，以四小時的長度捕捉日常與非日常之間。劇場裡的青年男女為了創作與生存而鬥爭。濱口藉由一個又一個長鏡頭追逐舞台劇的排演過程，耐心等候必然的衝突與 張力，既展現了攝影機暴力的本質，同時 思考「在鏡頭前面演出」是怎麼回事。現實與虛構巧妙交錯，舞台上下的衝突與暴 力，哪一邊才是真實的人生。
长篇影评
1 ) 转载 Meet the Real Sex Surrogate Portrayed by Helen Hunt in 'The Sessions'
在huffingtonpost上看到的，觉得有用就转了。
懒得翻译了，只写几点印象深刻的：
CCG没有爱上Mark。（我觉得这一点很重要，电影的设置因为这一点而比现实生活逊色很多，当然我们都能理解为什么要这样编剧本）
曾经有过200多名surrogate，现在只有50名。（经济不景气，需求萎缩啊）
CCG因乳腺癌于2006年切除单侧乳房，她今年（2013）已经68岁，仍然战斗在工作第一线。（这才是为革命事业奋斗终生）
下面是原文：
One of my favorite movies of the year is The Sessions, based on the true story of sex surrogate Cheryl Cohen Greene and her work with Berkeley-based poet and journalist Mark O'Brien, who was confined to an iron lung after contracting polio at age 6. The story is riveting, and comprises the first chapter of Cheryl's memoir, An Intimate Life: Sex, Love, and My Journey as a Surrogate Partner.
For forty years, Cheryl has worked in a career that has helped so many people, yet is greatly misunderstood. Here's what she had to say about her life as a sex surrogate:
Lois Alter Mark: I absolutely loved The Sessions, and thought it was such a beautiful and important story that can really open people's minds. How accurate is the movie and what message do you hope viewers will come away with after seeing it?
Cheryl Cohen Greene: Overall, I'm pleased with the level of accuracy in the movie. Of course, there are some things that the film couldn't show because of time limitations, but they really gave an accurate depiction of my work with Mark. The part about Mark and I falling in love was an exception. I would say we fell in like and we shared some very intense, loving moments. We stayed friends for years.
I hope people will come away understanding how important sexuality is for everyone, including people with disabilities. They have the same needs and desires as those of us who don't live with a physical disability. Additionally, I hope people will have a better sense of who surrogate partners are and the services we provide. We offer people the education and experience that can help them move forward in their lives from a more secure, more knowledgeable place.
LAM: Helen Hunt gives a beautiful performance that has deservedly been nominated for an Academy Award. How did it feel to watch her portray you? Did she have any specific questions before she started? What kind of advice did you give her?
CCG: It was incredible! Helen observed me very closely. She herself has said that I'm a louder person than she is, but I really felt she got my energy into her portrayal. She asked a lot about how I work with people and the range of clients I have. We discussed my work with Mark and how I encouraged him to give me feedback. Once, I read the script to her in my own voice so she could get my Boston accent. She also invited me to her home and I demonstrated sensual touch, an exercise I do with clients, on her partner -- fully clothed. Much of what you see with Helen and John in the movie comes directly from my work with Mark. I did bring a mirror to our sessions so Mark could see himself, and I did touch him in much the same way Helen did.
LAM: Because the movie focuses on just one of your clients, I found it fascinating to read your memoir afterwards. You have lived a very rich life, in a world most people have no idea even exists!
CCG: Thank you. I agree! I've been very fortunate.
LAM: It seems that the biggest misconception about surrogates is that they're no different than prostitutes. The movie and your book clearly show how off-base that perception is. I love that you say you're more like Julia Child than Xavier Hollander, and you compare seeing a surrogate to going to culinary school. Can you explain that a little?
CCG: Well, if you go to a prostitute it's like going to a restaurant. You choose what you want for the menu, you eat and hopefully have a good meal, and then you pay accordingly. If you have a good experience, maybe you'll return or refer friends to them. With a surrogate, it's more like going to culinary school. You learn the recipes, you learn your way around the kitchen, and then you go back to your life equipped with new skills and knowledge. I've yet to find a better metaphor for explaining the difference.
LAM: The world was a very different place when you originally started this career. How did you get into it and what does it take to be good at this job?
CCG: It takes compassion and empathy -- not sympathy, but empathy. It also takes having a very good intuitive sense. Surrogates have a process that we follow, but as the work progressives, it really becomes more individualized and it's important for the surrogate to be able to pick up subtle cues from the client.
I got into because it was meant to be! I had a sexually repressive childhood in which I was taught to believe that sex was dirty and wrong, but also that you were supposed to save it for the one you love. When I was pregnant with my first child, I went into therapy because I wanted my children to have a different and better experience from the one I had. In the process of working on myself, I really had to confront all of the shame and guilt I had about my sexuality. I was eventually able to work through it and free myself of it, even though it was intense. That made me believe that this was possible for others, too, and I wanted to help people not just overcome negative feelings about sexuality, but become more accepting and happy as sexual beings.
LAM: Although sex is all over the place now and it seems like there's a no-holds-barred attitude, the number of surrogates has actually decreased since you started. Why is that? What have been the biggest changes you've seen in our sexual culture over the past 40 years?
CCG: The biggest challenge has always been people's shame and guilt. In the sixties and seventies, people were rejecting that and trying to redefine their attitudes about sex. When AIDS happened, people became understandably scared and surrogates were no exception. A lot of them left the field. Those of us who stayed thought it was frightening too. We made a real effort to understand safer sex and to become condom positive. Most of our clients are low risk because they haven't had a lot of sex, but there was still a certain amount of risk that we faced. We had to have a new dialogue. Before AIDS, we asked if a client wanted to use a condom; now, it's taken as a given that he will, and if he refuses, we won't have intercourse. Surrogates became better sex educators because we had to be much better informed. We were up against something much more serious than syphilis and gonorrhea.
There are only about 50 trained surrogates in the U.S. now. That number was up to around 200 in the seventies. We're trying to find young men and women to come into the field and I hope the movie will spark interest in the profession.
LAM: What's the most difficult part of being a surrogate?
CCG: The most difficult part is probably to not continue to be a surrogate when you're with your partner. We're trained to be highly aware of what the client does and feels. Surrogacy is highly client-centric and the surrogate has to be closely attuned to her client. Sex with a partner is a much more shared experience and you don't want to find yourself becoming a spectator or losing touch with your own body. It took a while for me to learn not to be a surrogate all the time.
LAM: What's the scariest part?
CCG: I don't really find anything scary about my work. People are often surprised to hear that. There have only been very few instances where I felt scared with a client. One I detail in An Intimate Life. The other was with a man who had a lot of unresolved anger at his ex-wife, whom I apparently looked like. All my clients are screened by the referring therapist and it's appropriate for them to be working with me. In truth, surrogacy is, at least initially, probably way scarier for them than it ever is for me.
LAM: You are a breast cancer survivor, and you underwent a mastectomy in 2006. How did that affect your own body image as well as your practice?
CCG: It threw me for a loop at first, but I knew instantly that I didn't want to stop working. I had to learn a new dialogue about my body. I found myself trying to come to grips with the loss of a friend. I loved my breast. I loved the sensation I had in my nipple and it happens that the breast I had removed was the more sensitive of the two. I took a philosophical attitude. I had both breasts at one time in my life, and I enjoyed them, but to be alive was more important.
LAM: How has being a surrogate affected your personal relationships?
CCG: I think I have richer personal relationships because of my work. Who I am and what I do is so different than what others do. I have fabulous friends and a loving husband, and my work has helped me be more empathetic and compassionate with all of them.
LAM: You're 68 years old now and are still working. What's been the most rewarding part of your career? What do you see for the future?
CCG: I'm going to continue my surrogacy practice for as long as I can. I love the idea of having a public platform and being able to do more education. One thing I would absolutely love to do is to serve as a sex educator for parents. How parents address sexuality has a huge impact on kids, and I'd like to make sure it's a positive one. I'd love to help give parents the knowledge and tools they need to raise happy and healthy kids.
懒得翻译了，只写几点印象深刻的：
CCG没有爱上Mark。（我觉得这一点很重要，电影的设置因为这一点而比现实生活逊色很多，当然我们都能理解为什么要这样编剧本）
曾经有过200多名surrogate，现在只有50名。（经济不景气，需求萎缩啊）
CCG因乳腺癌于2006年切除单侧乳房，她今年（2013）已经68岁，仍然战斗在工作第一线。（这才是为革命事业奋斗终生）
下面是原文：
One of my favorite movies of the year is The Sessions, based on the true story of sex surrogate Cheryl Cohen Greene and her work with Berkeley-based poet and journalist Mark O'Brien, who was confined to an iron lung after contracting polio at age 6. The story is riveting, and comprises the first chapter of Cheryl's memoir, An Intimate Life: Sex, Love, and My Journey as a Surrogate Partner.
For forty years, Cheryl has worked in a career that has helped so many people, yet is greatly misunderstood. Here's what she had to say about her life as a sex surrogate:
Lois Alter Mark: I absolutely loved The Sessions, and thought it was such a beautiful and important story that can really open people's minds. How accurate is the movie and what message do you hope viewers will come away with after seeing it?
Cheryl Cohen Greene: Overall, I'm pleased with the level of accuracy in the movie. Of course, there are some things that the film couldn't show because of time limitations, but they really gave an accurate depiction of my work with Mark. The part about Mark and I falling in love was an exception. I would say we fell in like and we shared some very intense, loving moments. We stayed friends for years.
I hope people will come away understanding how important sexuality is for everyone, including people with disabilities. They have the same needs and desires as those of us who don't live with a physical disability. Additionally, I hope people will have a better sense of who surrogate partners are and the services we provide. We offer people the education and experience that can help them move forward in their lives from a more secure, more knowledgeable place.
LAM: Helen Hunt gives a beautiful performance that has deservedly been nominated for an Academy Award. How did it feel to watch her portray you? Did she have any specific questions before she started? What kind of advice did you give her?
CCG: It was incredible! Helen observed me very closely. She herself has said that I'm a louder person than she is, but I really felt she got my energy into her portrayal. She asked a lot about how I work with people and the range of clients I have. We discussed my work with Mark and how I encouraged him to give me feedback. Once, I read the script to her in my own voice so she could get my Boston accent. She also invited me to her home and I demonstrated sensual touch, an exercise I do with clients, on her partner -- fully clothed. Much of what you see with Helen and John in the movie comes directly from my work with Mark. I did bring a mirror to our sessions so Mark could see himself, and I did touch him in much the same way Helen did.
LAM: Because the movie focuses on just one of your clients, I found it fascinating to read your memoir afterwards. You have lived a very rich life, in a world most people have no idea even exists!
CCG: Thank you. I agree! I've been very fortunate.
LAM: It seems that the biggest misconception about surrogates is that they're no different than prostitutes. The movie and your book clearly show how off-base that perception is. I love that you say you're more like Julia Child than Xavier Hollander, and you compare seeing a surrogate to going to culinary school. Can you explain that a little?
CCG: Well, if you go to a prostitute it's like going to a restaurant. You choose what you want for the menu, you eat and hopefully have a good meal, and then you pay accordingly. If you have a good experience, maybe you'll return or refer friends to them. With a surrogate, it's more like going to culinary school. You learn the recipes, you learn your way around the kitchen, and then you go back to your life equipped with new skills and knowledge. I've yet to find a better metaphor for explaining the difference.
LAM: The world was a very different place when you originally started this career. How did you get into it and what does it take to be good at this job?
CCG: It takes compassion and empathy -- not sympathy, but empathy. It also takes having a very good intuitive sense. Surrogates have a process that we follow, but as the work progressives, it really becomes more individualized and it's important for the surrogate to be able to pick up subtle cues from the client.
I got into because it was meant to be! I had a sexually repressive childhood in which I was taught to believe that sex was dirty and wrong, but also that you were supposed to save it for the one you love. When I was pregnant with my first child, I went into therapy because I wanted my children to have a different and better experience from the one I had. In the process of working on myself, I really had to confront all of the shame and guilt I had about my sexuality. I was eventually able to work through it and free myself of it, even though it was intense. That made me believe that this was possible for others, too, and I wanted to help people not just overcome negative feelings about sexuality, but become more accepting and happy as sexual beings.
LAM: Although sex is all over the place now and it seems like there's a no-holds-barred attitude, the number of surrogates has actually decreased since you started. Why is that? What have been the biggest changes you've seen in our sexual culture over the past 40 years?
CCG: The biggest challenge has always been people's shame and guilt. In the sixties and seventies, people were rejecting that and trying to redefine their attitudes about sex. When AIDS happened, people became understandably scared and surrogates were no exception. A lot of them left the field. Those of us who stayed thought it was frightening too. We made a real effort to understand safer sex and to become condom positive. Most of our clients are low risk because they haven't had a lot of sex, but there was still a certain amount of risk that we faced. We had to have a new dialogue. Before AIDS, we asked if a client wanted to use a condom; now, it's taken as a given that he will, and if he refuses, we won't have intercourse. Surrogates became better sex educators because we had to be much better informed. We were up against something much more serious than syphilis and gonorrhea.
There are only about 50 trained surrogates in the U.S. now. That number was up to around 200 in the seventies. We're trying to find young men and women to come into the field and I hope the movie will spark interest in the profession.
LAM: What's the most difficult part of being a surrogate?
CCG: The most difficult part is probably to not continue to be a surrogate when you're with your partner. We're trained to be highly aware of what the client does and feels. Surrogacy is highly client-centric and the surrogate has to be closely attuned to her client. Sex with a partner is a much more shared experience and you don't want to find yourself becoming a spectator or losing touch with your own body. It took a while for me to learn not to be a surrogate all the time.
LAM: What's the scariest part?
CCG: I don't really find anything scary about my work. People are often surprised to hear that. There have only been very few instances where I felt scared with a client. One I detail in An Intimate Life. The other was with a man who had a lot of unresolved anger at his ex-wife, whom I apparently looked like. All my clients are screened by the referring therapist and it's appropriate for them to be working with me. In truth, surrogacy is, at least initially, probably way scarier for them than it ever is for me.
LAM: You are a breast cancer survivor, and you underwent a mastectomy in 2006. How did that affect your own body image as well as your practice?
CCG: It threw me for a loop at first, but I knew instantly that I didn't want to stop working. I had to learn a new dialogue about my body. I found myself trying to come to grips with the loss of a friend. I loved my breast. I loved the sensation I had in my nipple and it happens that the breast I had removed was the more sensitive of the two. I took a philosophical attitude. I had both breasts at one time in my life, and I enjoyed them, but to be alive was more important.
LAM: How has being a surrogate affected your personal relationships?
CCG: I think I have richer personal relationships because of my work. Who I am and what I do is so different than what others do. I have fabulous friends and a loving husband, and my work has helped me be more empathetic and compassionate with all of them.
LAM: You're 68 years old now and are still working. What's been the most rewarding part of your career? What do you see for the future?
CCG: I'm going to continue my surrogacy practice for as long as I can. I love the idea of having a public platform and being able to do more education. One thing I would absolutely love to do is to serve as a sex educator for parents. How parents address sexuality has a huge impact on kids, and I'd like to make sure it's a positive one. I'd love to help give parents the knowledge and tools they need to raise happy and healthy kids.
2 ) 那么渺小，那么伟大
“我相信上帝有着邪恶的幽默感，非常邪恶的那种。”——马克如是说。
最近在豆瓣看到过一位姑娘，因病常年在家画画，那些花栩栩如生惟妙惟肖。当她描述自己的故事，那种脑仁中的共振，或许小学语文老师会将其形容为“传神”。朋友说，只有当自己有过同样类似的经历时，对方的故事才能撼动你的心。
人类总是渺小的。在自以为是的发明和创造中，地球中与人类对立的另外一个世界也在蓬勃发展。地震、瘟疫、灾难。宇宙中若是有神明，神明定是在中立的注视，给与了我们福音也正在给予我们灭亡。
个人总是渺小的。很多很多的时候，你只能选择呆在困住你的地方。无路可逃，只希望随时间流逝，困境会有改变、境况会有起色。
但奇特的是，我总是相信人力能够赋予个人超凡的能量，比如那些成百上亿的神奇故事中讲的那样，癌症患者的不治自愈或心灵脆弱的人无疾而终。但有那么一些时候，尽管你将衡量境况的口径缩小到无法再小，你还是无处可逃。
努力、坚持，并用幽默感嘲笑自己的无能。渐渐的，你会发现一条路，这条路上有你想要的芬芳和清凉，于是开始怀疑“这是真的么？”努力走，尽全力跨出每一步。
在你正以为事情改变了，你不再是原先那个渺小的自己，一切都在积极有序而愈加明亮的色调中稳步前进——啪——一切都变了，你才发现，其实并不是那么一回事。
这种优越感的戛然而止可以源自一句嘲讽、一种直白的诚实，更甚至是那么一两件不顺心的小事儿。在戛然而止时，环顾四周，平静而坦然的重新认识自己：愚蠢、自大、骄傲、自满。
可是然后呢？
答案只有一个：继续走。因为我们本身是那么的伟大。
最近在豆瓣看到过一位姑娘，因病常年在家画画，那些花栩栩如生惟妙惟肖。当她描述自己的故事，那种脑仁中的共振，或许小学语文老师会将其形容为“传神”。朋友说，只有当自己有过同样类似的经历时，对方的故事才能撼动你的心。
人类总是渺小的。在自以为是的发明和创造中，地球中与人类对立的另外一个世界也在蓬勃发展。地震、瘟疫、灾难。宇宙中若是有神明，神明定是在中立的注视，给与了我们福音也正在给予我们灭亡。
个人总是渺小的。很多很多的时候，你只能选择呆在困住你的地方。无路可逃，只希望随时间流逝，困境会有改变、境况会有起色。
但奇特的是，我总是相信人力能够赋予个人超凡的能量，比如那些成百上亿的神奇故事中讲的那样，癌症患者的不治自愈或心灵脆弱的人无疾而终。但有那么一些时候，尽管你将衡量境况的口径缩小到无法再小，你还是无处可逃。
努力、坚持，并用幽默感嘲笑自己的无能。渐渐的，你会发现一条路，这条路上有你想要的芬芳和清凉，于是开始怀疑“这是真的么？”努力走，尽全力跨出每一步。
在你正以为事情改变了，你不再是原先那个渺小的自己，一切都在积极有序而愈加明亮的色调中稳步前进——啪——一切都变了，你才发现，其实并不是那么一回事。
这种优越感的戛然而止可以源自一句嘲讽、一种直白的诚实，更甚至是那么一两件不顺心的小事儿。在戛然而止时，环顾四周，平静而坦然的重新认识自己：愚蠢、自大、骄傲、自满。
可是然后呢？
答案只有一个：继续走。因为我们本身是那么的伟大。
3 ) I am not a virgin. Let me touch you with my words.
deeply touched. 非常精准，连过渡都不是无谓的，像是把浩瀚如汪洋的深刻感受和体会全部浓缩到一个个简洁的片段里。虽然……Mark的表现不足以让我理解为什么女性会爱上他，我也不相信她真的能高潮。非常多戳点，比如她拿着镜子对他说，It's your body. 最动人的，是每一个体验都非常深刻，像是在巨大的空间里呼啸兜转了多年后，吐出的一个轻声而简短的叹息。但仅从那表面的平静叹息里，都能些微地感受到底下猛烈盘旋的风。feelings are mixed, and that is why it is perfect.
Ignore my wishes and stubbornly refused to carry out my quietest desire. Bury the torches.
Ignore my wishes and stubbornly refused to carry out my quietest desire. Bury the torches.
4 ) Love Poem for No One in Particular
Let me touch you with my words
For my hands
Lie limp as empty gloves.
Let my words stroke your hair.
Slide down your back and tickle your belly.
For my hands.
Light and free-flying as bricks.
Ignore my wishes and stubbornly refuse to carry out my quietest desires.
Let my words enter your mind.
Bearing torches.
Admit them willingly into your being.
So they may caress you gently,within.
For my hands
Lie limp as empty gloves.
Let my words stroke your hair.
Slide down your back and tickle your belly.
For my hands.
Light and free-flying as bricks.
Ignore my wishes and stubbornly refuse to carry out my quietest desires.
Let my words enter your mind.
Bearing torches.
Admit them willingly into your being.
So they may caress you gently,within.
5 ) 相关影讯
一句话评论
《亲密治疗》或许是你今年能看到的处理性题材和小儿麻痹症题材最举重若轻的电影了。——《NPR》
影片在看似不可能的题材和情节中找到了幽默和优雅。——《综艺杂志》
在这部讲述残疾人士性爱问题的影片中，导演找到了完全坦诚且异常可爱的处理切入角度。——《好莱坞报道者》
影片的结构是传统的，甚至是程式化的；但是影片的细节和小情感的迸发，却异常地迷人。——《ScreenCrush》
影片主角的不断成长，充满了戏剧化的文静、优雅和幽默--这些，是这部电影的杀手锏。——《卫报》
幕后制作
改编自真实的故事
影片的故事并不是无中生有的，而是从一个真实的故事改编而来。在影片中，诸位演员所扮演的角色的姓名，就是生活中，这些真实的人的名字。约翰·哈克斯扮演的马克·奥·布莱恩是一个记者兼诗人。小时候，因为没有得到良好的医疗保障，而患上了骨髓灰质炎，造成了高位截瘫。为了维持自己的生命，奥·布莱恩使用了体外呼吸机辅助呼吸，以维持自己的生命。38岁的时候，奥·布莱恩决定要找一个性从业者，也就是一个妓女，来结束自己的处男生涯，从而把自己变成一个男人。
他找到的这个性从业者叫做谢丽尔·科恩·格林，是一个从事性工作已经有一些年头的女人。在和奥·布莱恩行房、得到报酬之后，便离开了奥·布莱恩，再也没有和他有任何联系。而奥·布莱恩，则把他的这次性经验写在了自己的文章《体验性治疗》（On Seeing a Sex Surrogate），并发表在了1990年的一期《太阳杂志》上。后来，马克·奥·布莱恩出版了自己的传记，《我是怎么变成人的：残障人士寻求独立》（How I Became a Human Being: A Disabled Man's Quest for Independence）。这本书，除了记述了马克·奥·布莱恩平时的生活起居，更是详细介绍了他对生活、生命以及生命意义的看法。而那次寻找性工作者的"破处经历"也成为了马克·奥·布莱恩从男孩向男人转变，寻求生命意义的里程碑式的事件。
1996年，华裔电影人虞琳敏为奥·布莱恩拍摄了一部纪录片《马克·奥布莱恩的生活和工作》，记录了奥·布莱恩带着呼吸机工作生活的故事，而且她还在片中讨论了残疾人士的性生活等等内容。这部纪录短片一经推出就获得了满堂喝彩，尤其是片中奥·布莱恩对自己身体的戏谑的插科打诨，乐观积极的精神，感染了很多人。在1997年的奥斯卡上，这部电影获得了奥斯卡的最佳纪录短片奖。
这部电影之后，奥·布莱恩几乎成为了美国残疾人士的榜样，尤其是他那种乐观面对生活、无视身体障碍的精神在一段时间内，成为了最具美国式精神的榜样。三年之后，也就是在1999年，奥·布莱恩因为长期的身体衰弱而去世，享年49岁。
同病相怜的导演
本片的编辑兼导演本·勒温（Ben Lewin）或许会对奥·布莱恩的生活和经历更有体会，因为他在小的时候也曾经患过脊髓灰质炎。不过，幸运的是，他活了下来，逃过了一劫，并且非常健康。也是出自偶然，勒温才得知奥·布莱恩的故事的。那个时候，勒温正在寻找讲述残疾人士性爱行为的资料，他想就这个话题拍摄一部电影。就这么在网上搜搜点点，他看到了奥·布莱恩的那篇著名的文章《体验性治疗》。看完了文章之后，勒温深受感动，他觉得奥·布莱恩的这篇文章可以被拍成一部完整的影片。勒温说："对我来说，奥·布莱恩的文字是充满情感的，而且也是非常完整的。足够拍摄成一部大电影了。他所撰写的内容，睿智而且机智，充满了智慧和幽默。我能做的，就是在影片中把这些情绪加强，形成戏剧的力量。"在撰写剧本的过程中，勒温把自己与脊髓灰质炎对抗的经历和自己对这种疾病的体验都放入到了故事和人物的身上。而且，在撰写剧本的过程中，他还找到了奥·布莱恩最后岁月的伴侣苏珊·芬巴赫、那个为奥·布莱恩破处的性从业者谢丽尔·科恩·格林，从她们的身上寻找可用的素材。
为了寻找到合适的演员，勒温和很多残疾演员进行了会面，可是他都觉得这些演员并不适合这个角色。后来，约翰·哈克斯走进了勒温的视线。为了准备这个角色，哈克斯阅读了奥·布莱恩撰写的所有文章，每一首诗歌，看了纪录片，并且深入研读了剧本。哈克斯说："这些文字都是奥·布莱恩的真情流露。他每每写到动情的地方的时候，都会哽咽并暂停一下。我觉得，这是塑造这个人物的最佳切入点。而且，导演也曾经患过脊髓灰质炎，对他的这种体会感同身受。我在剧本中，能体会到这一点，因为导演所撰写的内容，一样是充满情感的。虽然有着幽默的元素，可是这些情感却并不会因此而消逝。"对于哈克斯的主演，勒温说："我原本是想找一个残疾演员来扮演这个角色的，可是后来我却发现，一个健康的演员来扮演残疾人，更有意义。因为在扮演的过程中，他会比较和对比健康和残疾两个状态，从而表现出更有层次的表演来。"
花絮
·影片的原名叫做《代理》（The Surrogate）。后来改成了现在的The Sessions。
·影片根据马克·奥·布莱恩（Mark O'Brien）的真实的故事改编。
·为了表现出奥·布莱恩弯曲的脊椎，哈克斯在表演的时候，把一个足球大小泡沫放在了自己的背部，以让脊椎弯曲。除此之外，哈克斯还学会了用嘴巴咬着一根木棒来打电话。
《亲密治疗》或许是你今年能看到的处理性题材和小儿麻痹症题材最举重若轻的电影了。——《NPR》
影片在看似不可能的题材和情节中找到了幽默和优雅。——《综艺杂志》
在这部讲述残疾人士性爱问题的影片中，导演找到了完全坦诚且异常可爱的处理切入角度。——《好莱坞报道者》
影片的结构是传统的，甚至是程式化的；但是影片的细节和小情感的迸发，却异常地迷人。——《ScreenCrush》
影片主角的不断成长，充满了戏剧化的文静、优雅和幽默--这些，是这部电影的杀手锏。——《卫报》
幕后制作
改编自真实的故事
影片的故事并不是无中生有的，而是从一个真实的故事改编而来。在影片中，诸位演员所扮演的角色的姓名，就是生活中，这些真实的人的名字。约翰·哈克斯扮演的马克·奥·布莱恩是一个记者兼诗人。小时候，因为没有得到良好的医疗保障，而患上了骨髓灰质炎，造成了高位截瘫。为了维持自己的生命，奥·布莱恩使用了体外呼吸机辅助呼吸，以维持自己的生命。38岁的时候，奥·布莱恩决定要找一个性从业者，也就是一个妓女，来结束自己的处男生涯，从而把自己变成一个男人。
他找到的这个性从业者叫做谢丽尔·科恩·格林，是一个从事性工作已经有一些年头的女人。在和奥·布莱恩行房、得到报酬之后，便离开了奥·布莱恩，再也没有和他有任何联系。而奥·布莱恩，则把他的这次性经验写在了自己的文章《体验性治疗》（On Seeing a Sex Surrogate），并发表在了1990年的一期《太阳杂志》上。后来，马克·奥·布莱恩出版了自己的传记，《我是怎么变成人的：残障人士寻求独立》（How I Became a Human Being: A Disabled Man's Quest for Independence）。这本书，除了记述了马克·奥·布莱恩平时的生活起居，更是详细介绍了他对生活、生命以及生命意义的看法。而那次寻找性工作者的"破处经历"也成为了马克·奥·布莱恩从男孩向男人转变，寻求生命意义的里程碑式的事件。
1996年，华裔电影人虞琳敏为奥·布莱恩拍摄了一部纪录片《马克·奥布莱恩的生活和工作》，记录了奥·布莱恩带着呼吸机工作生活的故事，而且她还在片中讨论了残疾人士的性生活等等内容。这部纪录短片一经推出就获得了满堂喝彩，尤其是片中奥·布莱恩对自己身体的戏谑的插科打诨，乐观积极的精神，感染了很多人。在1997年的奥斯卡上，这部电影获得了奥斯卡的最佳纪录短片奖。
这部电影之后，奥·布莱恩几乎成为了美国残疾人士的榜样，尤其是他那种乐观面对生活、无视身体障碍的精神在一段时间内，成为了最具美国式精神的榜样。三年之后，也就是在1999年，奥·布莱恩因为长期的身体衰弱而去世，享年49岁。
同病相怜的导演
本片的编辑兼导演本·勒温（Ben Lewin）或许会对奥·布莱恩的生活和经历更有体会，因为他在小的时候也曾经患过脊髓灰质炎。不过，幸运的是，他活了下来，逃过了一劫，并且非常健康。也是出自偶然，勒温才得知奥·布莱恩的故事的。那个时候，勒温正在寻找讲述残疾人士性爱行为的资料，他想就这个话题拍摄一部电影。就这么在网上搜搜点点，他看到了奥·布莱恩的那篇著名的文章《体验性治疗》。看完了文章之后，勒温深受感动，他觉得奥·布莱恩的这篇文章可以被拍成一部完整的影片。勒温说："对我来说，奥·布莱恩的文字是充满情感的，而且也是非常完整的。足够拍摄成一部大电影了。他所撰写的内容，睿智而且机智，充满了智慧和幽默。我能做的，就是在影片中把这些情绪加强，形成戏剧的力量。"在撰写剧本的过程中，勒温把自己与脊髓灰质炎对抗的经历和自己对这种疾病的体验都放入到了故事和人物的身上。而且，在撰写剧本的过程中，他还找到了奥·布莱恩最后岁月的伴侣苏珊·芬巴赫、那个为奥·布莱恩破处的性从业者谢丽尔·科恩·格林，从她们的身上寻找可用的素材。
为了寻找到合适的演员，勒温和很多残疾演员进行了会面，可是他都觉得这些演员并不适合这个角色。后来，约翰·哈克斯走进了勒温的视线。为了准备这个角色，哈克斯阅读了奥·布莱恩撰写的所有文章，每一首诗歌，看了纪录片，并且深入研读了剧本。哈克斯说："这些文字都是奥·布莱恩的真情流露。他每每写到动情的地方的时候，都会哽咽并暂停一下。我觉得，这是塑造这个人物的最佳切入点。而且，导演也曾经患过脊髓灰质炎，对他的这种体会感同身受。我在剧本中，能体会到这一点，因为导演所撰写的内容，一样是充满情感的。虽然有着幽默的元素，可是这些情感却并不会因此而消逝。"对于哈克斯的主演，勒温说："我原本是想找一个残疾演员来扮演这个角色的，可是后来我却发现，一个健康的演员来扮演残疾人，更有意义。因为在扮演的过程中，他会比较和对比健康和残疾两个状态，从而表现出更有层次的表演来。"
花絮
·影片的原名叫做《代理》（The Surrogate）。后来改成了现在的The Sessions。
·影片根据马克·奥·布莱恩（Mark O'Brien）的真实的故事改编。
·为了表现出奥·布莱恩弯曲的脊椎，哈克斯在表演的时候，把一个足球大小泡沫放在了自己的背部，以让脊椎弯曲。除此之外，哈克斯还学会了用嘴巴咬着一根木棒来打电话。
6 ) 几件美好的事
人生几件美好的事：
LOVE
SEX
POEM
RELIGION
美好到足以让人震颤
I can touch you with my words
and do it respectable
最近看的几部电影，主人公都很有幽默感。《偷书贼》里的Max，《歌曲改变人生》里的Dan，本片的Mark。幽默感不是令人发笑如此简单，幽默感能化解尴尬，能让人温暖，能给人力量，能给人爱的能力。幽默感不是“具有逗人笑这个功能”这么浅显的定义，是一个生命的活力。
神父在Mark的葬礼上讲，His was a dynamic voice in a paralyzed body.
Mark最喜欢的一首诗：
Love Poem for No One in Particular
Let me touch you with my words
For my hands lie limp as empty gloves
Let my words stroke your hair
Slide down your back and tickle your belly
For my hands light and free-flying as bricks
Ignore my wishes and stubbornly refuse
To carry out my quietest desires
Let my words enter your mind
Bearing torches
Admit them willingly into your being
So they may caress you gently within
LOVE
SEX
POEM
RELIGION
美好到足以让人震颤
I can touch you with my words
and do it respectable
最近看的几部电影，主人公都很有幽默感。《偷书贼》里的Max，《歌曲改变人生》里的Dan，本片的Mark。幽默感不是令人发笑如此简单，幽默感能化解尴尬，能让人温暖，能给人力量，能给人爱的能力。幽默感不是“具有逗人笑这个功能”这么浅显的定义，是一个生命的活力。
神父在Mark的葬礼上讲，His was a dynamic voice in a paralyzed body.
Mark最喜欢的一首诗：
Love Poem for No One in Particular
Let me touch you with my words
For my hands lie limp as empty gloves
Let my words stroke your hair
Slide down your back and tickle your belly
For my hands light and free-flying as bricks
Ignore my wishes and stubbornly refuse
To carry out my quietest desires
Let my words enter your mind
Bearing torches
Admit them willingly into your being
So they may caress you gently within
通篇是欲望，但既不扭捏作态也不放浪形骸，本片中的性不再只是噱头，而成为了真正贯穿始终的核：它不以下流亦或低俗的面貌出现，而是与一个人的成长与完整休戚相关，甚至带着几分圣洁的色彩。三位女性各自的代表含义与首尾两处猫的意象的设置很棒，霍克斯与亨特颇具牺牲精神的表演与对戏真是精彩。
love is a journey 性工作者有了些悬壶济世感就显得特别高尚
前一个小时堪称完美！
要是奥斯卡能选择朗读者。要是选了这部也无可厚非。
作品中饱含性压抑的史铁生如果像剧主男主那样有性治疗师的启蒙，会不会也能写出轻喜剧来呐？
我一直都很鄙视那些把性交和裸体当成电影卖点的电影商人，这部电影就给那些俗片们上了一课，尽管性交就是故事的主题，海伦·亨特也贡献了自己的裸体，但本片却干净的像一部纯爱喜剧。内心纯洁的人拍出态度端正的作品，以乐观战胜苦难，让人看到性的魅力和人与人之间那份久违的友善。★★★☆
悲喜
三位一体的女性是三种治愈方式，先后给予患者初恋、性爱与真爱的自我成长。肉体虽触不可及，但以文字替代双手，用身体填充灵魂，了解自身并达成心灵与肉体的统一。治疗师与患者共浴，移情与反移情是水，这种微妙关系也反映在静止的观众与活动的电影之间。John Hawkes连提名都没获真是可惜……
7.5分。整部电影里通篇都是在谈性爱，情色，而且尺度也大到了露三点，但看下来却丝毫没有猥琐，淫荡的感觉。反倒有一种轻轻的触动。整部电影拍得如春天午后的阳光，晒在身上带来丝丝暖意，但又不会让人热得难受。相比Helen Hunt，我倒更喜欢John Hawkes，没能获得奥斯卡提名有些可惜了。
淡淡的感动。这部电影真正做到了通篇谈性、做爱、露点却毫不淫荡。与欲望无关，更多的则是感动。对性的礼赞，它让你只能用神圣和伟大这些词汇形容性。并通过对性的认知，让人学会爱，并让人成为一个完整的人。很多感情细节做的很细腻。最后的诗也很感人。
Good story
现在想看个90分钟的电影如此之难，以至于都不太习惯这片的开门见山了。/ 马克等着治疗师进门的那一段，John Hawkes 演得真好！/ 来生一定要上加州伯克莱念大学 / 我才知道不是所有男的都可以自然勃起
如果我只有一个手指头可以爱你，你愿意接受我吗？——人骨拼图。如果我只有一个dxxk可以爱你，你愿意接受我吗？——亲密治疗。说是性的治疗，其实是爱的旅程，很平淡的性喜剧，看得很舒服。
还行
这片儿妙在人物之间的互动，说的做的都是极私领域的事，却毫无「侵入」感，反倒让人觉得亲密温暖。牧师和护理的戏份都在刚刚好的时机刚刚好的插入。裸戏、床戏、情诗和告解，没有一个地方用力，奇妙的就有泪点又不是真的要催你哭。治愈系典范。Helen并不是很适合这个角色……
透明人。
我承认我想看做爱镜头，所以恨不得把进度条快速拉到做爱的情节，这部电影讲我们的好奇心理慢慢的放大，让学习性爱变的生动有趣，又具有挑战，让人不会觉得腻，但又愿意去思考做爱带来的到底是什么
“不用聊太多，我就是想和你一起出现在公共场合。” 我们都没有期待，但人生就是这么神奇。49年来，他爱与被爱，残疾一生，却倾尽所有去爱人……年度最佳歪脖子电影。
John Hawkes长得好像只猫
很感动。。。诗也很美