From Cannes: ‘Strangers by Night’ is Warmly Romantic

Late one night on the métro begins an unexpected but whirlwind romance between strangers Aymeric (Alex Lutz) and Nathalie (Karin Viard). After a loud argument about jostling on the crowded car turned into sex in a photo booth, they decide to throw away their phones and spend one night well and truly together, giving love and honesty a chance. A French language film featuring lots of ruminations on love and some middle-aged chaos, “Strangers by Night” is a romantic picture of late-night possibility and hope.

Aymeric and Nathalie wander through the streets of Paris, revisiting their youths, revitalizing old passions, and taking risks they would never normally allow themselves. It’s a pretty premise for an understated film, and it flows well with its tight camera work and dimly lit settings. Though there is little plot and low stakes, their successive adventures are connected by the two getting to know each other more and more deeply.

The history of the two main characters is never explored, meaning they are strangers to the viewer as well as to each other. This can be difficult to watch, as it’s hard to become invested in characters who don’t feel real. However, this format opens an avenue for funny conversations, as Aymeric and Nathalie ask different, out of left field questions to one another, having no interest in the typical banalities of small talk.

They frequently wax poetic about the meaning of life and love and share their observations on how people work. The unceasing conversation anchors the whole film, leading Aymeric and Nathalie between locations as they allow themselves to be vulnerable with each other. These long scenes of grandiose talking could easily become exhausting, but director (and actor) Lutz allows these moments to breathe. Rest scenes of gentle quiet or talking interspersed with the cityscape at night keep the narrative’s momentum going while also providing a reprieve from dialogue that is, while not uninteresting, far from groundbreaking.

Furthermore, as a romance, “Strangers by Night” is to an extent centered around sex. The actual sex scenes are well-chosen, never becoming gratuitous. Though sometimes the dialogue feels a bit like the imaginings of a gleeful teenage boy, Nathalie and Aymeric’s discussions of their escapades, fears and interests build a quirky, offbeat intimacy between them. One of the most memorable scenes between them occurs at a sex club, where Aymeric and Nathalie meet another couple who like to swing. Though the entire sequence feels like a toned-down combination of several typical romance tropes, it’s notable because it is the only time Nathalie and Aymeric get the opportunity to talk to someone other than each other. They are able to admit how they feel and what they want next, something they have steadfastly ignored all night and that was sorely needed in the narrative. Considering how small scale “Strangers by Night” is, it is extremely well balanced.

The film was shot mostly at night and in a short amount of time to create a feeling of urgency, something that shines through its cinematography. Yet unlike many films today, “Strangers by Night” remembered to hire a lighting crew, and its use of warm colors and yellow haze creates an evocative atmosphere without sacrificing the visual aspect of this visual medium. Moreover, the music is also beautiful, mostly featuring a subtle piano that is stunning when it becomes diegetic. The plot twist is obvious but ultimately doesn’t detract from the movie, simply showing that the premise’s experiment succeeds: two strangers can change each other's lives in one night.

“Strangers by Night” is a warm, understated, late-night gem.

—Staff writer Millie Mae Healy can be reached at milliemae.healy@thecrimson.com.