The latest film adaptation of Albert Camus’s classic novel, L’Étranger, is reigniting discussions about colonialism and cultural representation. Directed by François Ozon, this black-and-white version of the 1942 novel, released in the UK in 2024, has received a mixed reception from critics and audiences alike.
Since its publication over 80 years ago, L’Étranger, known in English as The Outsider, has provoked intense debate. The novel’s portrayal of French colonialism in Algeria has made it a complicated work to adapt for film. As noted by the culture website Cult News, adapting Camus’s work is akin to “climbing the Himalayas,” due to its complex themes and historical context.
Ozon’s adaptation presents a long, atmospheric interpretation of the story, focusing on the protagonist, Meursault, played by Benjamin Voisin. The character’s emotional detachment following his mother’s death and subsequent actions lead to his condemnation to death by decapitation after he kills an Arab man on a beach. This narrative reflects the absurdity that Camus intended to convey, according to political scientist Nedjib Sidi Moussa, who stated that Meursault is judged not for the murder itself but for his indifference and nonconformity to societal norms.
Camus, awarded the Nobel Prize in Literature in 1957, was born to pied noir parents in French Algeria. His background as a French citizen afforded him privileges denied to many indigenous Algerians. Sidi Moussa emphasized that Ozon’s film subtly critiques colonial society, addressing both the colonized and the colonizers. He remarked, “The film is daring and faithful to the book… it reconstructs the story to speak to today’s audiences.”
Critics have expressed varied opinions on the adaptation’s fidelity to the source material. In a review for Causeur magazine, cinema programmer Jacques Déniel described Ozon’s film as polished yet lacking the metaphysical depth of Camus’s original work. He argued that while Ozon captures Meursault’s indifference, the adaptation falls short in its ambition, stating, “In Camus’s work, absurdity springs from the clash between man and the world. In Ozon’s work, it dissolves into a seamless mise-en-scène.”
The narrative’s complexity continues to polarize audiences and scholars alike. Professor Catherine Brun from the Sorbonne noted that L’Étranger remains enigmatic, allowing for diverse interpretations. She explained, “It mirrors the tensions and contradictions… everyone finds something in it to back their argument or settle scores. Nobody can have the last word.”
Catherine Camus, the author’s daughter and custodian of his literary legacy, expressed her approval of the film, although she critiqued Ozon’s decision to amplify the role of Djemila, the sister of the Arab man killed by Meursault. In the novel, both characters remain unnamed. Catherine Camus stated, “I thought the film was very good but not the role he gave the sister at the end. This is not in the book, and I felt it was a contradiction.”
Ozon, who sought the approval of Catherine Camus for his adaptation, acknowledged the challenges he faced in bringing such a well-regarded text to the screen. He expressed gratitude for her support, revealing, “It was a huge challenge to adapt a masterpiece that everyone has read and every reader has already visualised and staged in their own mind.”
The director added that the decision to give Djemila a voice in the film was intended to highlight the invisibility of the Arab character within the narrative. He explained, “Djemila … has a conscience and a voice in the film. She is there to bear witness to the fact that, in this story and at the trial, her brother is never mentioned, even though he is the one who was murdered.”
As the film prepares for its release, it underscores the ongoing relevance of Camus’s work within discussions of colonial history and identity. The adaptation not only seeks to honor the original text but also aims to provoke thought and dialogue about the legacies of colonialism that persist today.
