Movie Review: The Stranger
Screened at Stockholm International Film Festival 2025
One-liner: A curious adaptation, strong performances and quiet restraint compel this thought-provoking and vivid black-and-white crime drama.
The Stranger (L’étranger) is an adaptation of Albert Camus’s eponymous novel, telling the story of Meursault – a young man embroiled in a life-altering court case after being implicated in a murder. While the plot appears straightforward, the character’s disposition is anything but. The narrative follows a man whose perceived apathy and “godlessness” seem to dictate his fate, as his indifferent reading of the world draws him down a narrow, inevitable path.
Shot in stark black and white, François Ozon provides an equally cold lens for the situation. This stylistic choice reflects the lead’s almost alien perspective – an empirical, literal understanding of life – while adding an artful aesthetic and quiet beauty to the film. Adapted from a text long deemed “unfilmable” due to its internal first-person narration and lack of traditional dramatic action, this curious drama creates tension through Meursault’s emotionless stance. He offers no justification for his numbness; he simply exists within it.
Set in 1930s Algeria, it is fascinating to journey with Meursault as he navigates social contracts and relationships. He is frequently discriminated against for his lack of performative grief, beginning with his mother’s funeral. His reaction – or lack thereof – is merely to acknowledge her passing rather than mourn it. This moment sets a chilling tone for the rest of the film, building toward a callous decision regarding an Arab man’s life. By maintaining an edge through crime and racial tension, The Stranger explores profound questions of morality as Meursault pushes against the boundaries of social convention.
Acting as a “straight man” to the lively characters around him, Meursault is a captivating vacuum. His choices regarding a romantic partner and a local ruffian serve as the catalyst for a surreal and powerful third act. Through strong performances, Ozon’s film is given greater magnitude and nuance. While an emotionless lead could easily result in a “flatline” performance, Benjamin Voisin uses subtle micro-expressions to make the role compellingly “backfooted.”
“Well, I didn’t come for the waters.”
He’s supported by Rebecca Marder as Marie, who adds some dimension and humanity to the lead as a love interest. Denis Lavant and Pierre Lottin add a grit to The Stranger as neighbours who find Meursault acceptance of their socially undesirable actions and stations oddly comforting.
The concept remains enigmatic and existential, never allowing the audience to get comfortable with the protagonist’s predicament. Meursault sidesteps accountability by acting as a vessel through which life simply happens, rather than a hero taking control. This “passive” approach is refreshing in a medium that typically demands decisive action.
Masterfully curated and leading to a powerful climax, The Stranger is a compelling tale of an indifferent man whose numbness eventually catches up with him. While the pacing may be too deliberate for some, the intricate minutiae make for a restrained, sharp, and deeply thought-provoking adaptation.
The bottom line: Provocative
