The Last Session: A wonderful declaration of love to cinema (review)

The new film from the director of Samsara opens the doors to the enchanted world of the cinema for young Samay. A tale about childhood worthy of the greatest Spielberg.

In the race for the Oscar for best international film, in 2023, the choice of India caused discussion: how could they have chosen an initiatory story like The Last Session instead of Rrr, a musical UFO by SS Rajamouli which made the entire planet dance to “Naatu Naatu”? Between stiff narration and jerky editing, it must be admitted that the first minutes of The Last Session are confusing. For the film to find a balance of tone, we must wait for the collision of two worlds: that of Samay, 9 years old, restless and curious, and that of the projectionist from the neighboring village, Fazal. An exchange of good practices takes place between them – dishes cooked by the boy’s mother in exchange for lessons on the art of 35mm.

So, Pan Nalin’s film takes on the air of The Fabelmans. Same wonder, same tale about childhood, same dream of grandeur. Games of hide and seek no longer interest him, Samay has fun catching light with his hands, makes a camera obscura in a moving train and transforms celluloid strips into sunglasses. And, like him, we suddenly (re)fall in love with cinema. It must be said that Pan Nalin knows how to coax us with a fireworks display of colors and lights. But like every love at first sight, this one comes with its share of sorrows. The Last Dance is a story as alive as it is crossed by the mourning of 35mm. When the reaper (the formidable video projector) arrives, the destroyed films will be transformed into colorful bracelets that Samay will find on the wrists of Indian women during a masterful homage to cinema sequence. This Last Dance will amaze you.

By Pan Nalin. With Bhavin Rabari, Bhavesh Shrimali, Richa Meena… Duration: 1h50. Released July 15, 2026