Todos Somos Extraños

There are certain movies that are too heavy to objectively rate and look back on. For me, All of Us Strangers is that kind of film.

The story follows Adam, played by terrific Andrew Scott, who's in his forties, living alone in a freshly-built block in London, indulging himself in his loneliness. One night, he's visited by Harry, played by brilliant Paul Mescal, and the two start a relationship, in which both open up about their insecurities. It turns out, Adam's main source of anxiety is not being able to get over grief after his parents' death 30 years earlier.

Adam writes screenplays for movies, and it turns out, All of Us Strangers seems like one of his screenplays, because he regularly visits his parents. He talks with them about his everyday life, struggles, and what has changed in these 30 years.

Now, I'm lucky enough to have both parents alive and well. Still, due to how excellent the dialogue, narration, and acting is in All of Us Strangers, I was still devastated. I can't recall when was the last time I shed so many tears during a film.

Imagine a person so lost in grief and loneliness they talk to their dead family members and acting as if their fantasies were true. All of Us Strangers brings these kinds of images alive to a great effect. Fortunately, the movie is also more than only an emotional blow. It hardly loses its narration, even when the tempo accelerates in certain moments, and the border between what's real and fiction seems to vanish.

And the acting. I won't ever understand how Andrew Scott wasn't nominated for an award for his depiction of Adam. His range in this movie is just unmatched. A lot of positives can also be said about Paul Mescal, or Adam's parents, who are played by Claire Foy and Jamie Bell, but they're a background to Scott's brilliance on the screen.

It's tough to think of a story about grief and loneliness without emotional baggage. All of Us Strangers, despite its emotional overload, delivers a solid, stunning, and tough story about people who are lost. More importantly, it's a story about a lot of us, too afraid to talk about our inner battles, running away to imaginary scenarios. A truly superb film.

Had the privilege of catching this film early as it screened at the London Film Festival. I had high hopes after seeing the critics reviews and it did not disappoint.

The story follows Adam and his neighbour Harry, with whom he develops a romantic relationship with, as he deals with the grief from his parents tragic death when he was child.

The film cuts across genres. At times it is funny, sad, romantic, and even horrifying. It is a damning depiction of the loneliness epidemic among younger men while also dealing with the added challenges faced by those within the lgbt community in trying to fit in.

The chemistry between Scott and Mescal is brilliant, while Foy and Bell really hit the right note in their roles. The film is also beautifully shot and has a lovely palette of colours within.

It's a tough watch and left me with a lump in my throat for the entire final third, but it thoroughly deserves all the praise it has received so far.

9/10.

Ok, I feel like I have to go back and watch this one again already after reading some interpretations of the ending. I feel like a dolt for missing the clues leading to the twist, and I feel like I would appreciate the movie much more on a second viewing.

But even with that, this movie knocked the wind out of me. Or at least part of it did. There are really two stories playing out in this film. In one, a man is able through some unexplained bit of magical realism to return to his family home where his parents, who died when he was twelve, are alive. These scenes are painfully poignant, and Andrew Scott gives a masterclass of acting as a man who is also still in some ways a little boy. A couple of moments with his parents, played well by Jamie Bell and Claire Foy, had me and the rest of the theatre I was in openly weeping.

The other story is the one that somehow went over my head, a romance Scott's character strikes up with a man living in his apartment building, played by Paul Mescal. I wasn't into this storyline as much, and would have been content if the entire film had just been about Scott seeking closure with his parents. But again, I also didn't catch on what was actually happening with the Paul Mescal storyline, so I wonder if I would like that part of the film more on a re-watch knowing what I know now.

If there's any justice in the world, Andrew Scott will receive some awards attention for this.

Grade: A.

How on earth will I manage to find the right words to describe the cinematic experience this film gave me? (English is not my mother tongue) I still have to try.

I remember Liv Ullmann in a lecture talking about the film Persona. She said a movie doesn't have to explain everything to you. Give all answers. But instead give you something that you take with you and think about. Maybe after a while you think; aha, that's how it was! She also said that a film can change you, and give you new perspectives. I think that is a summary I can share with her about this special, beautiful and profound film.

For me, who also lost my parents at an early age, the film's message about loss and coming to terms with loss was right at the center of my heart. I have very rarely experienced such magnificent acting as Paul Mescena and Andrew Scott give us here. But I don't think the message would have been as real without Andrew Haigh's script and the lead actors. That these two actors and the film are not included in the Oscar nominations this year is shocking. They give it their all in this film, and take us viewers on a journey about alienation, loneliness and, not least, how to live on after great losses.

In addition to excellent acting, a strong message, Andrew Haigh has also provided excellent music, a journey back in time for me as a youth in the 80s. Rarely has the maligned pop music of this decade come into its own more than in this masterpiece.

I will never forget this film.

In a movie awards season that has had more misses than hits, it's gratifying to see one that not only lives up to, but exceeds, its potential. Such is the case with writer-director Andrew Haigh's latest offering, a heartwarming and heartbreaking story of love, reflection and healing all rolled into one. To say too much about the film would invariably lead to a plethora of spoilers, but suffice it to say that it tells a genuinely moving and touching tale of a 30-something gay Londoner (Andrew Scott) and his budding relationship with a mysterious new beau (Paul Mescal), an involvement very much influenced by the protagonist's relationship with his own past, most notably his involvement with his parents (Jamie Bell, Claire Foy). This is one of those pictures that's just about perfect in virtually every regard thanks to its stringent adherence to authenticity in the writing and the portrayals of its positively stellar cast, especially the highly underrated performance by Foy, whose role has puzzlingly been flying under the radar thus far. It's also a production that will likely surprise viewers in myriad ways, defying expectations and telling a story that's anything but apparent from what's in its promotional trailer. Moreover, I'm impressed by the fact that this is an offering featuring gay characters in which their sexuality is not the principal focus of the narrative, something that truly distinguishes this feature from so many others in this genre. Add to these attributes a sensitively chosen soundtrack and some surprisingly innovative cinematography, and you've got one helluva fine movie. To be sure, this is one of those releases that, if it doesn't touch you profoundly, you'd better check to see if you have ice water coursing through your veins. "All of Us Strangers" richly deserves whatever accolades it receives. It's one of the year's best, bar none.