Albert Camus’ The Stranger remains one of the most enduring works of modern literature. Consistently ranked among the greatest novels of the 20th century, it has been translated into more than 75 languages and continues to resonate with readers from the Beat Generation to Gen Z.

Now, acclaimed French filmmaker François Ozon takes on the formidable task of adapting this iconic novel—and succeeds with striking clarity and control.

Shot in evocative black and white, Ozon’s adaptation remains faithful to the novel’s signature emotional detachment while thoughtfully expanding its perspective, particularly around themes of colonialism and racial injustice that Camus left largely unexamined.

Benjamin Voisin delivers a compelling, restrained performance as Meursault, embodying the character’s emotional distance with precision. Rebecca Marder brings warmth and humanity to Marie, providing a subtle but essential counterpoint.

Nearly 30 years after his debut feature SEE THE SEA first screened in U.S. arthouses, Ozon remains one of international cinema’s most provocative and versatile voices. With THE STRANGER, he has crafted a film that feels both faithful to its source and urgently relevant—well worth the price of admission.

We’re honored to welcome François Ozon to discuss his new film THE STRANGER, on INSIDE THE ARTHOUSE, starting now.

Film and history.

It’s not always a comfortable pairing.

For decades, the story of Palestine in the years leading up to the creation of the State of Israel has been shaped as much by legend as by fact—through popular books like Leon Uris’s EXODUS and other works, that are, if not entirely inaccurate, certainly have presented a skewed perspective on the historical reality.

There’s a famous line near the end of John Ford’s THE MAN WHO SHOT LIBERTY VALANCE. 

“When the legend becomes fact, print the legend.”

It’s a memorable line—but it raises an uncomfortable question.

What happens when the facts challenge the legend?

In the new film PALESTINE ’36, filmmaker Annemarie Jacir provides a different take on that same place and period. The film arrives at a time when the world is re-examining what has heretofore been the accepted fact, and it provides some needed context on the era that has previously been missing in narrative cinema.

But beyond its role in addressing history, the film is also a stirring drama, with remarkable work being delivered both in front of and behind the camera. The film received a 20-minute standing ovation when it premiered at the 2025 Toronto Film Festival, and it was shortlisted for the Academy Award for Best International Feature.

PALESTINE ’36 will begin its North American release when it opens in New York City on March 20, expanding to L.A. on March 27, and beyond in the weeks that follow.

We had the good fortune to sit down in person with filmmaker Annemarie Jacir at the Royal Theatre so we could learn more about the film and the incredibly difficult journey it took to bring this story to the screen.

Our conversation with Annemarie Jacir on INSIDE THE ARTHOUSE… starting now

According to Wikipedia, a shtetl is the Yiddish term for the small towns across Eastern Europe where many Ashkenazi Jewish communities lived before the Holocaust.

But for those of us born after the Shoah, the word carries something almost mystical. It evokes the floating villages of Marc Chagall’s paintings and the rich storytelling of Isaac Bashevis Singer—a world that feels both vivid and distant.

In his film SHTTL, director Ady Walter takes us back to one of those villages. But instead of presenting a nostalgic or quaint portrait of shtetl life, Walter reveals something far more complex: a vibrant community filled with debates over religion, politics, gender roles, economics, and identity.

In other words, a world that feels surprisingly familiar.

The film has clearly resonated with audiences. SHTTL recently became the longest-running film at New York’s New Plaza Cinema, playing continuously for more than 20 weeks.

To explore the film from multiple angles, we took a slightly different approach for this episode of INSIDE THE ARTHOUSE. Rather than a single conversation, we recorded three separate sessions with key members of the film’s creative team.

We first connected with director Ady Walter at his home in Paris, where he spoke about the challenges of recreating a lost world and bringing Yiddish culture and pre-war Jewish life to the screen.

We also spoke with Saul Rubinek, the celebrated actor and filmmaker who grew up speaking Yiddish in Montreal and brings a deeply personal connection to the material.

Finally, we sat down in person with Moshe Lobel, the film’s star. Lobel is also a Yiddish speaker, but with a particularly powerful relationship to the language and the cultural traditions depicted in the film.

There is a great deal happening beneath the surface of SHTTL, and it quickly became clear that hearing from all three voices—the director and two actors—would offer a richer understanding of the story the film tells.

We hope you enjoy this three-part conversation with filmmaker Ady Walter and actors Moshe Lobel and Saul Rubinek, on INSIDE THE ARTHOUSE.

The Sundance Film Festival is back. And with the festival, we can expect stories in the news about the latest “big” acquisition of premiering films. But while the headlines focus on the acquisition price, we want to understand what’s going on beyond the number. How do these deals get done — and more importantly — what happens with the 99% of films that DON’T get picked up for distribution in a bidding war.

To learn more about how films get from production to distribution, we sat down with industry veteran Gary Rubin. In the go-go 90’s and early aughts, he was buying films at Artisan Entertainment, including being involved with the acquisition of THE BLAIR WITCH PROJECT. 

Later, he formed his own company, First Independent Pictures, handling the distribution of BIG FAN and HOLY ROLLERS.  

Lately, he’s switched to the other side, helping producers position their films for sale as a sales agent.  

And when buyers don’t bite, he’s ready to step in as a marketing consultant, guiding filmmakers through the process of self-distribution.

Making a film is a huge challenge. But in many respects, actually getting it in front of an audience is even tougher.  

So if you’re a filmmaker, or even just an interested consumer of independent films, you’ll want to listen in and learn more from our “inside baseball” conversation with Gary Rubin, on INSIDE THE ARTHOUSE… starting now.

Rebecca Zlotowski first caught our attention with her fifth feature, OTHER PEOPLE’S CHILDREN, which was released in the U.S. in 2023. So we were especially excited to screen her follow-up: A PRIVATE LIFE — a sleek, stylish French-language film that’s as entertaining as it is unexpectedly moving.

The film boasts a stellar cast led by Oscar-winner Jodie Foster and César-winner Daniel Auteuil, making it one of the most exciting cast-and-director pairings of the year.

In A PRIVATE LIFE, Foster plays a tightly wound psychiatrist whose carefully ordered world begins to unravel when one of her patients dies under mysterious circumstances. Blending mystery, romance, and comedy, it’s the kind of genre cocktail that shouldn’t work — but somehow does… and beautifully.

The result is a gripping, emotionally intelligent thriller with a real pulse, anchored by one of Foster’s most nuanced performances in years.

While this isn’t Foster’s first time acting in French, it may be her most accomplished — and the role has already made history, with Foster becoming the first American ever nominated for a César in an acting category.

To learn more about how the film came to be, we spent time with filmmaker Rebecca Zlotowski, and we’re thrilled to share that conversation with you.

Listen now to our episode on A PRIVATE LIFE with Rebecca Zlotowski — on INSIDE THE ARTHOUSE, starting now.