I argue that David Oelhoffen's 2014 film Far From Men (Loin des Hommes), while departing from the letter of Camus' 1957 story, “The Guest/Host”, does remarkable cinematic justice to its spirit. Oelhoffen's Daru and the Arab character Mohamed, it is suggested, represent embodiments of Camus’ idealised Algerian “first men”, in the vision Camus was developing in Le Premier Homme at the time of his death in January 1960. Part 1 frames the film in light of Camus’ “The Guest/Host”, and Part 2 frames Camus’ story in light of Camus’ agnonised struggle to come to terms with the Algerian situation. Part 3 makes the case that Oelhoffen's departures from Camus’ original story present in cinematic form Camus’ ideal of a post-colonial, post-ethnic solidarity between people, predicated on the overcoming of all arche-ideological fantasies of untained prelapsarian community.

中文翻译：

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客人，主人，陌生人：远离男人和加缪的阿尔及利亚人

我认为 David Oelhoffen 的 2014 年电影远离男人（Loin des Hommes），虽然背离了加缪 1957 年故事的书信，“客人/主人”，对其精神做了非凡的电影正义。欧尔霍芬的达鲁和阿拉伯角色穆罕默德，据建议，代表了加缪理想化的阿尔及利亚“第一人”的化身，在加缪于 1960 年 1 月去世时在 Le Premier Homme 中发展的愿景中。第 1 部分将电影框架化为根据加缪的“客人/主人”，第二部分根据加缪为适应阿尔及利亚局势而做出的公认斗争来描绘加缪的故事。第 3 部分说明了 Oelhoffen 与加缪原始故事的背离，以电影形式呈现加缪关于人与人之间后殖民、后种族团结的理想，