The philosophy was embraced by film noir, the French New Wave and modern hitmen questioning life’s purpose. Now dust off your turtlenecks, for Sirāt and a new version of Albert Camus’ The Stranger look set to make ennui on-trend again
“For it all to be consummated, to feel less alone, I had only to wish for a big crowd on the day of my execution, and for them to greet me with cries of hate.” The lacerating signoff of Albert Camus’s L’Étranger isn’t a collection of words you’ll see appearing as life advice in some influencer’s Instagram caption any time soon. In the age of vapid social media self-help, François Ozon’s new film adaptation of the existentialist masterpiece rears up like a great monolith. Eighty-four years after the novel was published, that’s rather unexpected; as far as IP goes, L’Étranger (The Stranger) was probably some way behind Cloudy With a Chance of Meatballs on the film industry’s revival list. Does this mean that existentialism is suddenly back in vogue? Or is the film just a farewell tour for every angsty student’s favourite source of tattoo quotes?
It should be said that Ozon’s version is a big improvement on Luchino Visconti’s ill-conceived 1967 stab at Camus’s novel, Lo Straniero (the only other direct adaptation). Filmed in serenely aloof silvery monochrome, the new film is a tasteful but pointed interpretation. Newcomer Benjamin Voisin is superb in the lead as antihero Meursault, who is famously unmoved by his mother’s death and says the sun’s glare is what makes him shoot an Arab. This Meursault is hard-edged in his nonconformism, coming across at times like a sociopathic, colonial-era Patrick Bateman, next to the book’s sleepily acquiescent figure. And Ozon is on politically strident form, recentring the story on colonial power relations from the prologue onwards – which features a chirpy newsreel-style propaganda film about Algiers’ “smooth blend of Occident and Orient”.
