What's remarkable about Claire Denis' L'Intrus is that at a structural level it is maybe her most cinematic feature to date, and I don't mean that in terms of big or sweeping. I think cinema as a medium is visual at it's core. It is about telling a story through images and L'Intrus is built up entirely on images. The narrative is stated in any expositional terms by any character, but shown in every frame. This makes L'Intrus her most basic achievement in cinema and her most difficult statement, because it's entirely interpretational. I'm not sure if what I'm seeing is a vision, a dream or reality but in every image there's meaning both obvious (dogs eating a heart) and cryptic (I'm still not sure what the dogs mean). This makes L'Intrus feel challenging, but in truth everything is laid out there for you to have as you will.
Denis has always been a filmmaker of bodies and the tone of her films often appear in the way she shoots those figures. She's always close, framing them closely into the lens, and often focusing on one body part. She'll move the camera over one's body and depending on how she does all of this she creates different tones of physique. In Vendredi Soir the human body is sensual, alive with passion and free. In Bastards she took sexuality and used it for horror. In L'Intrus Louis body feels cold and in a way dead. He has a scar running up and down his chest and every time we see his frame it's draped in this cool grey or blue lighting or he's hooked up to a machine. There is no warmth in his soul after he loses his original heart. He's essentially homeless in his own body. This is in stark contrast to the way Louis’ grandson is shot earlier in the film when his face is covered in sunlight and has a smile on his face. He has his original heart after all.