The Stranger
François Ozon has become a favorite of mine over the past decade. I feel like I’ve probably said that every review I’ve written in the past few years, but it is becoming more clear that his work connects with me. Whether it’s a coming-of-age tale, family drama, crime entertainment or something more sinister. I can’t wait to have time to dig further into his filmography and see what it has in store.
His latest film to his the US is “The Stranger.” Adapted from a famous novel by Albert Camus with his recent screenwriting partner, Philippe Piazzo, the film puts us into French Algeria in 1938. Our protagonist is Meursault (Benjamin Voisin), an office clerk whose attitude to life is one of indifference. Early on, he finds out that his mother- who is in a care facility which costs more than he can afford- passes away. The impact on him? Seeming indifference. No tears, no emotional meltdowns. Just…resignation. He moves on with his life, and begins a relationship with a colleague, Marie (Rebecca Marder). He also begins spending more time with his neighbor, Raymond (Pierre Lottin), and when they all go on a trip to a beach house, the death of a young Arab man will change lives forever.
I love when filmmakers decide to film in black-and-white in modern films. Shot in 1.66 aspect ratio by Manuel Dacosse, “The Stranger” feels like it could be an actual production from 1938, and not a film set in the period. The black-and-white cinematography has a sheen to it that wasn’t really prevalent at the time, but Ozon’s control of the narrative feels right out of the morality tales of crime cinema of the era. It’s not surprising, as he’s shown himself adept at bringing film noir ideas to his films in the past, but this one isn’t afraid to lean into it, as well as questioning the moral clarity with which the society of the time seems to view Meursault’s actions, even though they do not really provide empathy towards the Arab victim, except when his sister is seen in the courtroom.
Voisin’s performance is interesting to watch because of how minimally the character’s emotions are read on his face. Are we to believe he is truly indifferent to life? Or is that just how he’s processed the world and its challenges. I know, when my mom passed last year, you didn’t really see me crying or breaking down emotionally, in part because I knew that she was near the end for years before, and it was about her comfort, and being there for her as much as I could. We do not get the impression he’s visited his mother often, and the way he treats her passing is part of how the prosecution puts him on trial, and gets the jury to convict. It’s only near the end that he seems to show much emotion. It’s a good choice, but it also leaves “The Stranger” at arm’s length with the viewer. That is in keeping with the novel, in my understanding, but it also makes Ozon’s film a tough one to keep engaged with for about two hours. For fans of the filmmaker, however, it’s still worth a watch.
