The Adjuster

“I wanted to make a film about believable people doing believable things in an unbelievable way.”

—Atom Egoyan

Developing slowly, like an unsavoury polaroid photo, The Adjuster metes out its obscure secrets until a whole, beguiling picture is formed.


Noah is an insurance claims adjuster, appearing angelically at the scenes of house fires to involve himself – totally – in the lives of the victims.

His wife, Hera, works in film classification, secretly filming the explicit scenes she censors.

The couple live in a show home in the midst of an unfinished housing development, unaware that another couple – Bubba and Mimi – have the house in their sights for their own esoteric and unsettling schemes.

Critics praised the deftness with which director Atom Egoyan combines seemingly irreconcilable parts. In the New York Times, Janet Maslin wrote:

“The mournful music and the autumnal tone of The Adjuster allow Mr. Egoyan ... to incorporate all manner of mythological references, strange parallels and even terrible puns into the film's seemingly serious mood.”

Among the gnomic set pieces and beneath the thick rime of Egoyan's beguiling style, a complex investigation of forms of family – organic and inorganic, consoling and destructive – emerges, incisively inflected by evocations of the Armenian Genocide and the experience of exile.

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