Sidney Trebor (Gregoire Colin) cuts an enigmatic figure; an emotionally distant man who prefers the company of his dogs. His contact with other people is limited to an affair with a local pharmacist (Bambou) and a wordless attraction to a beautiful and equally aloof dog breeder (Beatrice Dalle). An ailing heart forces Trebor have a black-market transplant. He recovers and travels to the bustling shipyards of Pusan in Korea, buys a boat and voyages south to his former home on a remote island near Tahiti. Here, he searches for the lost son he fathered years before. However he is uncertain of the welcome he will receive after all these years.
The aesthetics of silence
- The Intruder review by PH
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Do not look for a dialogue or a 'proper story' in The Intruder: the film relies on elliptical and fragmented narrative where the remnants of a repressed past seem to constantly threaten to disturb the present of the protagonist. The film resists conventional narrative approaches keen on explanations and psychological classifications. It does not describe situations and conflicts in order to find solutions. The actors are not provided with personalities that justify all their actions. In the way characters and story become freed from pre-established codes and causalities, the film combines aspects of modernist fiction and of philosopher and film theorist Gilles Deleuze's concept of a 'time-cinema': time and the visual do not simply function as codes to allow the easy unfolding of movemnt and action towards a logical end. Time and the visual become the actual texture of the film. This film, therefore, fails to meet many of the expectations of more conventional work. Nevertheless, a story can be recuperated in The Intruder: a man constantly dreaming violent scenarios while he waits for a heart transplant, the murder of a young intruder in his home, his escape to Tahiti to find one of his sons, whilst rejecting the other one who lives around the corner from him. The complexities of human life...