The Stranger

In philosophy, the ‘other’ refers to that which differs from the familiar. Accordingly, the ‘other’ also plays a role in our perception of others, for the feeling of perceiving something as ‘other’ is established the very moment a person encounters something unfamiliar. What does this mean for other people? When other people are perceived as ‘the other’, this may not only be related to ethnicity or language, but may also have to do with behaviour. Social behaviour, after all, also encompasses norms, and if someone behaves in a way that contravenes these norms, they are generally perceived by others as ‘the other’.Based on Albert Camus’s world-famous work, French director François Ozon presents the facts as they are and leaves it to the audience to pass judgement. Meursault, the stranger: he is the embodiment of otherness. His views on life, and how he wishes to live it, differ from the old-fashioned norm. He does not weep at his mother’s death. Consequently, he deals with negative emotions – and death in particular – differently from what society expects. Later in the film, during the court hearing, this fact is used as an argument to suggest that he is a cold-blooded murderer devoid of emotion. Furthermore, Meursault seems to place great value on honesty, which is why he expresses his views in court and in his relationship with Marie without regard for the feelings of others. This honesty, which at times borders on emotional coldness, ultimately proves to be his undoing: he is convicted of murder. The court sees him as the stranger who lacks empathy and is too different to live within society.With the story set in Algeria, a former French colony, the issue of racism – although not explicitly named – also comes to the fore. Why is it not explicitly mentioned? At that time, the colonial powers and the settlers did not give it a second thought. This is, without question, morally reprehensible and wrong. At the same time, there is also a connection between racism and the way ‘otherness’ is treated, as racism relates to differences in appearance, language and culture. Racist people do not accept what is foreign to them and treat these people with violence and intolerance. Ozon’s film depicts, both through dialogue and through his cinematography, the inhumane conditions prevailing in Algeria at that time. The murder of a ‘native’ – as they are referred to – was mostly wrongly dismissed as a trivial matter. Because of Meursault’s foreignness, he does not experience the leniency of the court, but is punished with the full brutality of the law, just like the Algerian men and women.*The Stranger* stands out for its exceptional elements. Firstly, there is Benjamin Voisin’s performance, which other critics will no doubt find too reserved and cold. However, in my view, his performance is a masterstroke, for a role like this demands more than one that requires frequent emotional shifts. Furthermore, director Ozon, together with his cinematographer Manuel Dacrosse, has created a cinematographic style whose black-and-white aesthetic captures the story’s sombre atmosphere, whilst its creativity reflects the main character’s sense of otherness.

Calm on the surface. Quietly unsettling underneath. François Ozon doesn’t rush—and The Stranger benefits from that patience. It’s controlled, observant, and built on tension that doesn’t need to announce itself. The film lets silence do most of the work, and somehow, that’s where it hits the hardest. What stands out is the restraint. Nothing feels overplayed. The narrative unfolds slowly, almost cautiously, trusting the audience to stay with it rather than chasing attention. But that same restraint can feel limiting. At times, it holds back just enough to stop it from becoming truly unforgettable. Final Verdict: Subtle, sharp, and just unsettling enough to linger. Cinema wins. Mediocrity loses.