Weekend films

"Ozon's 'The Stranger' is the film for the Easter weekend at the cinema

François Ozon's long-awaited new film, based on the famous book of the same name, arrives in cinemas

by Andrea Chimento

Lo straniero

3' min read

Translated by AI
Versione italiana

3' min read

Translated by AI
Versione italiana

 

François Ozon adapts Albert Camus: the French director, famous for such beautiful films as 'Le temps qui reste' or 'Young Beauty', has directed one of the most ambitious products of his career with 'The Stranger', the big star of the weekend in cinemas.

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The challenge was not an easy one, not least because in 1967 the text had already been brought to the cinema by a certain Luchino Visconti with Marcello Mastroianni as the performer in a transposition that, it must be emphasised, was certainly not among the great Italian author's most successful works.

Set in 1938 in Algiers, 'The Stranger' features Meursault, a quiet, modest clerk in his thirties, who attends his mother's funeral without shedding a tear. The next day he starts a casual affair with Marie, a colleague, and quickly returns to his usual routine. Soon, however, his daily life is disrupted by his neighbour, Raymond Sintès, who drags him into his shady business dealings, until tragedy strikes on a beach on a hot day.

"My maternal grandfather was an examining magistrate in Bône (now Annaba), Algeria, and in 1956 he had escaped an attack, an event that accelerated my family's return to mainland France," Ozon revealed at last year's Venice Film Festival, where the film was screened in competition, adding how he realised during this filming how all French families have a connection to Algeria and how heavy the silence hanging over this shared history is.

Perhaps it was also for this autobiographical reason that he chose to make this transposition of the masterpiece published in 1942 for Gallimard.

“Lo straniero” e gli altri film della settimana

Photogallery4 foto

Faithfulness to the spirit

Following the path of so many great authors in the history of French cinema, Ozon tries to remain as faithful as possible to the spirit of the source text, while still managing to offer a topical vision with sociological insights capable of connecting to the present time.

Reduced by the thriller 'Under the Leaves', Ozon continues to make one film a year, confirming himself as a truly prolific director, but also as an author capable of giving all his works the right amount of attention: the level of his works is (almost) always incisive and capable of displaying the talent of an author who knows how to range between the most diverse genres.

In 'The Stranger' the rhythm is not always perfect and a few more flashes would have made it more engaging, but the film is elegantly staged, thanks to a refined black and white, effective in conveying all the alienation of the main character.

Benjamin Voisin's good performance as the protagonist should also be highlighted.

Is that the last line?

Also arriving in cinemas this week is Bradley Cooper's third film as director, following 'A Star Is Born' and 'Maestro'.

Entitled "Is that the last line?" this film focuses on a married couple who, after many years together, decide to end their marriage amicably, trying to go their separate ways without compromising family life.

Alex, struggling with a mid-life crisis and impending divorce, tries to reinvent himself in the world of New York stand-up comedy, searching for a new purpose and personal identity outside the role of husband and father. Tess, on the other hand, reflects on the sacrifices she has made for her family and her sense of self, forced to redefine her priorities and confront the challenges of life alone. On the path of separation, the two will have to learn how to manage co-parenting, define new family dynamics and rediscover the very concept of love, which can transform and take unexpected forms even after the end of a marriage.

Cooper confirms himself as a more than decent director with this feature film that combines intimate reflections and moments of humour, managing to deal with not simple themes with the right delicacy.

The screenplay touches profound chords, although some passages appear overly contrived and contrived, making the film lose a hint of authenticity.

In any case, the cast's performance was good, starting with the two leads Will Arnett and Laura Dern.

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