Elizabeth Erwin

With its minimalistic storytelling and melancholy dissection of loneliness, Stranger by the Lake is a quiet film that sneaks up on you and wheedles its way into your psyche. I first watched Alain Guiraudie’s 2014 masterpiece at the beginning of quarantine and months later, it has yet to fully leave my subconscious. The story itself is a deceptively simple one. Franck (Pierre Deladonchamps), while frequenting a lake known to be a gay cruising site, befriends loner Henri (Patrick d’Assumçao) and falls in love with the murderous Michel (Christophe Paou). But this isn’t a film about plot. It’s a film about the horrific choices that can emerge from our extreme human need for connection.

Stranger by the Lake is marketed as an erotic film but that framing fails to celebrate how horror conventions, especially in relation to dread building, fuel the film’s atmosphere. Its deployment of Adam Lowenstein’s theory of “subtractive spectatorship,” in particular, is a fascinating reflection of how landscape can inform our readings of queer desire within the film. According to Lowenstein, “subtractive spectatorship” names “a desire to subtract or erase human beings from the landscape, to leave it empty,” and he adds that topographical camera shots of nature spur a desire in the audience to see the landscape depopulated. Lowenstein explored this paradigm in part through Mario Bava’s brilliant giallo Ecologia del delitto/A Bay of Blood (1971), and so the particular process of depopulation he described was the result of a killer systematically offing the human interlopers in clever and often aesthetically interesting ways. But that’s not the case in Stranger in the Lake. Read more