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In recent years psychoanalysts have expressed great interest in finding ways to bring the merits of Psychoanalysis to the public eye. How can we interest or entice others, outside of our often incestuous-like inner circles, into this arduous, painful, mysterious, and odd journey that might take one to the edges of insanity? To anyone outside of analytic circles, it does sound crazy to tell someone that, during the process, they might experience themselves as an infant suckling their mother/analyst's breast who, by the way happens to be a man, or that when they lie down on the couch they just might experience themselves falling into tiny bits, but just for 50 minutes because time is up and it's off to work you go! I don't mean to sound glib, but as analysts, we do expect that our patients will be able to function in two very disparate worlds that are mostly at odds with one another. How do we convince others that this can be worthwhile and life giving? It is not an easy sell! I think we make the investment in Psychoanalysis because we have been moved deeply in the process of being an analyst, patient, and, most likely, both. I struggle with words to not only describe being moved but to evoke a state of being moved. The psychoanalytic words that I will use in this review — “paranoid/schizoid and depressive position,” “internal object world,” the “unthought known,” the “phenomenal vs. ineffable subject,” “autochthony,” “alterity,” “separateness,” etc…. — are not moving words. They are intellectual, distancing, obscure, and lifeless. Many psychoanalytic thinkers have sought out other disciplines for help in describing what has moved them in the psychoanalytic process, such as philosophy, religion, poetry, music, and science. I turn to the sound, color, and pull of cinema to help me convey the power of a psychoanalytic journey.