François Ozon's adaptation of The Stranger, while visually stunning, reveals the limitations of cinema in depicting the complex inner states of consciousness that Camus masterfully crafted in his text.
The final show I review below got me looks that made me feel like a fish in a bowl. First, the private security at the door had two Valiant rent-a-cops who scowling at me-and only me-with that same 'Give me an excuse!' glare I've gotten from real cops all my life.
On the page, we have total control - we see what's happening inside the character's mind, the narrative is designed to have a safe outcome, and there are no real-world repercussions. This allows us to safely explore strong emotions such as danger, obsession, or dominance. Often, these scenarios present these actions with emotional intensity, vulnerability, or chemistry, which can make them feel incredibly exciting and romantically charged, even though intellectually, we understand that these scenarios would not be appropriate.
Saad (Mehdi Meskar) is a young Moroccan exile in Quebec who will do anything to save Reza (Aron Archer), his Iranian refugee lover who faces being sent back to his home country. In a desperate move, Saad sets out to seduce a high-ranking spokesperson (played by Alexandre Landry) from the ministry of immigration in a risky gambit that sets off a fateful chain of events.
The short answer is yes, unless you take fiction for what it is-fiction. When you long for something you don't have, it can lead to dissatisfaction with what you DO have. Romantic fiction has witty, heartfelt dialogue, buckets of romantic gestures, and protagonists who have a preternatural ability to read each other's minds. It's easy to forget it is not real. This can set up unrealistic expectations both conscious and unconscious.
The warmth, richness and approachability of this lovely film from Singaporean director Anthony Chen, a graduate of Britain's National Film and Television School, returns him to the family drama style of his 2013 debut Ilo Ilo; with care and connoisseurship, he again draws on the influences of Edward Yang and Tsai Ming-liang, but Chen's instincts are less oblique. He dots the I's and crosses the T's; the film-making is forthright and wholehearted though not unsubtle.