After I resolved to write about about Claire Denis’s L’Intrus for this round-up, I decided it might make sense to start with my piece on the film from 2005, when it placed sixth on Reverse Shot’s list of the year’s best films. That it has leapfrogged all but one of the titles ahead of it from that year for this best-of-the-decade reckoning probably speaks to some prosaic matters, like an influx of new writers and a general reshuffling of the auteurist deck amongst this critical circle (Denis’s stock has gone up, as evidenced by the recent Reverse Shot retrospective on her career). But it also suggests that, for all its utterly enveloping, immediate sensory pleasures, L’Intrus holds up to and gains considerably from multiple viewings (something I’m not sure could be claimed for, say, A History of Violence, 2005’s number four with a shotgun bullet).
My main concern was that my original essay—filed, I say not by way of excuse but in matter of fact, in a jet-lagged haze from the media lounge of the Rotterdam International Film Festival, where I was serving as a juror—would not prove nearly so durable. I thus thought that it might be useful for me to take another look at the film by revisiting and appending my original take. Read Adam Nayman on L’Intrus.