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The film follows Freud's descent into a region almost as black as Hell itself—man's unconscious—as he develops the notion that neurosis stems from sexual repression. By treating patients with various issues, including a woman haunted by recurring dreams (Susannah York, The Killing of Sister George) and a man with an Oedipus complex (David McCallum, The Great Escape), Freud experiences epiphanies that lead to the birth of modern analysis, despite the scorn his theories initially receive from his colleagues.
