Whereas in the previous forms of treatment one explores his symptom via speech (analysis, psychotherapy), or the body (dramatherapy), in this form of psychotherapy one gets to explore his main areas of concern together with others, within a cinematic group, via his senses.
In this specific context, the word sense can refer not only to the senses as such, but also to sensations as emotions. This whole elaborative procedure through one’s senses and emotions can only take place by means of the image. And, to be more exact, not by means of a n y image whatsoever, (which would unilaterally refer to the sense of vision alone), but of the cinematic image, which additionally includes the sense of sound, and through montage and its multifaceted techniques comes not only to include the whole series of the rest, but also creates new ones, as Deleuze through his groundbreaking work regarding the cinematic field has managed to prove.
In particular, this kind of treatment takes place through the navigation among a series of carefully chosen cinematic material, which in its specific order of presentation gradually develops the reflection and pondering upon various areas of concern and which culminates in the identification of each individual symptom or malfunction. Discussion among the group follows each presentation, which further generates free association around one’s particular problematic areas.
The ones who show interest for this kind of psychotherapeutic treatment most frequently turn out to belong to these kind of people who find pleasure in being motivated primarily as spectators, observers, via the senses, as if they were momentarily out of their problem, and those who do not enjoy talking about it so much, but prefer exploring it through more individual pathways, through more private languages, without nevertheless being disturbed by the rest of a group in their quest.
As a conclusion, one could say that this kind of psychotherapy would most likely suit people who would like to speak about their problem, without at the same time saying necessarily that much about it.