No French filmmaker had dared to adapt a work into a film until now. The foreigner ofAlbert CamusPerhaps out of respect for this seminal work of modern literature, which is articulated from a subjectivity alienated from conventional forms of socialization, a perspective difficult to translate onto the big screen. François Ozon Ozon transports us to French-occupied Algeria through a stylized black and white that helps reconstruct an idealized image from the French imagination of that colonial period. It is within this image, as beautiful as it is false, that his protagonist, Meursault, is inscribed—the young man who destabilizes this appearance of normality when he murders an Arab boy for what he claims is sunstroke.