{"id":707005,"date":"2025-09-02T11:05:36","date_gmt":"2025-09-02T09:05:36","guid":{"rendered":"https:\/\/numero.com\/?p=707005"},"modified":"2025-09-15T15:17:18","modified_gmt":"2025-09-15T13:17:18","slug":"venice-film-festival-2025-film-adaptation-cult-novel-albert-camus-stranger","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/culture-en\/movies\/venice-film-festival-2025-film-adaptation-cult-novel-albert-camus-stranger\/","title":{"rendered":"Venice Film Festival 2025: Which film adaptation of a cult novel will shake up the festival?"},"content":{"rendered":"\n
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Marcello Mastroianni in the film The Stranger<\/i> (1967) by Luchino Visconti \u00a9 Les Acacias.<\/p><\/figcaption><\/figure>\n\n

The Stranger<\/i><\/b>, a cult novel already adapted on screen by Visconti<\/b><\/h2><\/h2>\n\n

Surpassing other classics by Hugo<\/b>, Balzac<\/b>, and Dumas<\/b>, The Stranger<\/i> is the world’s third most-read French novel and was translated into over 75 languages. In 1942, the publishing house Gallimard released The Stranger<\/i><\/b>. It was the first novel Albert Camus<\/b> completed after several autobiographical attempts published during wartime.<\/p><\/p>\n\n

Both narrator and protagonist of the novel, the character of Meursault seems driven by a deep apathy. The now iconic opening lines of the novel perfectly capture his emotional detachment. Indeed, he is unable to feel any emotion as he receives a telegram announcing his mother\u2019s death. Entirely alien to social conventions, the character allows Albert Camus<\/b> to outline the foundations of his philosophy of the absurd – one of his most significant contributions to the history of literature.<\/p><\/p>\n\n

Translating Albert Camus\u2019s prose into images is no easy task. His style is so distinctive, able to conjure up deep reflections on the meaning of life in just a few words. During his lifetime, the author refused any cinematic adaptation of The Stranger<\/i>. In 1967, Luchino Visconti<\/b> attempted the first adaptation, with the approval of Francine Camus<\/b>, the writer\u2019s widow, on one condition – that the filmmaker remain as faithful as possible to the original work. Released in theatres four years after the triumph of the film The Leopard<\/i><\/b>, starring Marcello Mastroianni<\/b>, his film adaptation got a lukewarm reception from both the critics and the audience\u2026<\/p><\/p>\n\n

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French actor Benjamin Voisin in the photocall for the film Lost Illusions<\/i> by Xavier Giannoli at Cinema Quattro Fontane in Rome, on December 21st, 2021 \u00a9 Franco Origlia\/Getty Images.<\/p><\/figcaption><\/figure>\n\n

A rereading of the novel by Fran\u00e7ois Ozon starring Benjamin Voisin<\/h2>\n\n

A risky undertaking, yet one that Fran\u00e7ois Ozon<\/b> will soon take on. After his latest film When Fall is Coming<\/i>, which earned H\u00e9l\u00e8ne Vincent<\/b> a C\u00e9sar nomination, the prolific French director will helm a new feature-length film adaptation of The Stranger<\/i>.<\/p><\/p>\n\n

The director’s filmography includes many reinterpretations, some more faithful to the original works than others. 8 Women<\/i> (2002) and Peter von Kant<\/i> (2022) were originally plays. Summer of 85<\/i> (2020) and Everything Went Fine<\/i> (2021) were novels. As for By the Grace of God<\/i> (2018), it was based on real-life cases of child sexual abuse perpetrated by a priest.<\/p><\/p>\n\n

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Une publication partag\u00e9e par Fran\u00e7ois Ozon (@ozonfrancois)<\/a><\/p><\/div><\/blockquote>