"Capturing bodies in film is the only thing that interests me." - Claire Denis (1994: quoted in Noëlle Rouxel-Cubberly' essay "Delivering: Claire Denis' Opening Sequences.")
"Rich, strange, and tantalizingly enigmatic, Denis’s crypto-odyssey is a mesmeric sensory experience that haunts like a half-remembered dream. Inspired by a book by philosopher Jean-Luc Nancy, The Intruder skips across time and continents—from the Alpine wilds to a neon-lit Korea to a tropical Tahiti suffused with languorous melancholy—as it traces the journey of an inscrutable, ailing loner (Michel Subor) seeking a black market heart transplant and his long-lost son. An impressionist wash of hallucinations, memories, and dreams are borne along on the lush textures of Godard’s shimmering cinematography." - The Female Gaze (2018)
The Intruder (France: Claire Denis, 2004: 130 mins)
Beugnet, Martine. "The Practice of Strangeness: L’Intrus – Claire Denis (2004) and Jean-Luc Nancy (2000)." Film-Philosophy 12.1 (2008)
Davis, Robert. "Intruding Beauty: An Interview with Claire Denis.” Errata (December 9, 2004)
Dooley, Kath. "The Intruder." Senses of Cinema (June 2012)
Funderburg, Christopher, et al. "Claire Denis." Wrong Reel #122 (April 3, 2016)
Nancy, Jean-Luc. L'Intrus. (Posted on Project Muse: originally published in 2000) [Claire Denis states that this book was the inspiration for the film.]
Nayman, Adam. "L'intrus." Reverse Shot (December 22, 2015)
Nelson, Max. "Claire Denis' Chemical Reactions." The New York Review of Books (April 27, 2018)
Preziosi, Patrick. "“Why Don’t You Ever Take Me In Your Arms”: Claire Denis’ Cinema of Intimacy." Photogénie (November 16, 2018)
Walton, Saige. "Cinema and Sensation: French Film and the Art of Transgression by Martine Beugnet." Senses of Cinema #50 (April 2009) ["Those familiar with French director Claire Denis will be aware of the exquisite sensuality of her cinema. Whether coming together with another body in the world through the shared space and flesh of desire, or being driven apart from others by personal and sociopolitical circumstance, bodies – their gestures, bites and kisses, alternately languid or energetic movements, postures, habits and rituals – are the very “stuff” and substance of the film experience here. Given her privileging of the senses and her amenability to, as well as considered dialogue with, philosophers of the body, Denis is at the forefront of a number of contemporary directors (by no means exclusive to France, if we consider the work of figures such as Hou Hsiao-hsien, David Lynch or Wong Kar-Wai) who are generating much interest from sensually alert film scholars. Adrian Martin, for instance, identifies “the bedrock of Denis’ cinema [as] the flesh”, while Elena del Río comments that the “film body” of the cinema itself becomes a “sensation producing machine” in Denis, as if each film were “sending ripples of affect and thought across a diversity of its movements”, independent of the body of the viewer. The arresting materiality that infuses Denis forces us to look anew at sensory encounters with the cinema."]
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