Best of the Decade #7: L'Intrus

Despite its abundance of resonances, rhymes, and echoes, L’Intrus seems to be finding its shape for most of its running time. Hence a few of its early emphases—like the erotic game instigated by Grégoire Colin for his border-guard wife, a visualization exercise centered on a forest not unlike the one prowled by Louis—end up feeling a bit weightless, while something probably equally throwaway to Denis’s overall conception, like the ecstatic final shot of Béatrice Dalle driving a group of sled dogs through a newly Louis–free winter-scape, gives an impression of being Very Important. (My guess: not so much).