Confounding, disturbing and yet icily compelling, the experience of watching François Ozon’s “The Stranger” is not entirely dissimilar to that of reading Albert Camus’ 1942 classic. Wisely, Ozon only rarely goes beyond the text; instead he invests signifiant creative energy into mimicking the affectless but oddly seductive tone of the novel in purely cinematic terms. […]
Scotland made a dreadful start to their penultimate 2026 World Cup qualifier as they deservedly fell behind...
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