The philosophy was embraced by film noir, the French New Wave and modern hitmen questioning life’s purpose. Now dust off your turtlenecks, for Sirāt and a new version of Albert Camus’ The Stranger look set to make ennui on-trend again“For it all to be consummated, to feel less alone, I had only to wish for a big crowd on the day of my execution, and for them to greet me with cries of hate.” The lacerating signoff of Albert Camus’s L’Étranger isn’t a collection of words you’ll see appearing as life advice in some influencer’s Instagram caption any time soon. In the age of vapid social media self-help, François Ozon’s new film adaptation of the existentialist masterpiece rears up like a great monolith. Eighty-four years after the novel was published, that’s rather unexpected; as far as IP goes, L’Étranger (The Stranger) was probably some way behind Cloudy With a Chance of Meatballs on the film industry’s revival list. Does this mean that existentialism is suddenly back in vogue? Or is th...