Cuenta la historia de un guionista que, tras un encuentro con su vecino, es llevado de vuelta a la casa de su infancia, donde descubre que sus padres, muertos hace mucho tiempo, viven y pare... Leer todoCuenta la historia de un guionista que, tras un encuentro con su vecino, es llevado de vuelta a la casa de su infancia, donde descubre que sus padres, muertos hace mucho tiempo, viven y parecen tener la misma edad que el día que murieron.Cuenta la historia de un guionista que, tras un encuentro con su vecino, es llevado de vuelta a la casa de su infancia, donde descubre que sus padres, muertos hace mucho tiempo, viven y parecen tener la misma edad que el día que murieron.
- Dirección
- Guionistas
- Elenco
- Nominada a6premios BAFTA
- 29 premios ganados y 121 nominaciones en total
Cameron Ashplant
- Teen
- (sin créditos)
Lincoln R. Beckett
- Gay Bar Goer
- (sin créditos)
Jack Cronin
- Teen
- (sin créditos)
Christian Di Sciullo
- Shopper
- (sin créditos)
Oliver Franks
- Lover
- (sin créditos)
Hussein Kutsi
- Taxi Driver
- (sin créditos)
Gsus Lopez
- Club goer
- (sin créditos)
Jack Pallister
- Dancer
- (sin créditos)
Guy Robbins
- Shopper
- (sin créditos)
Darren Ryames
- Passerby
- (sin créditos)
Zachary Timmis
- Teen
- (sin créditos)
Sean Tizzard
- Dad on train
- (sin créditos)
- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
I realised towards the end of this film that I was gasping for breath. I had to pause it several times just to catch up with all the feelings it was evoking.
Such a powerful and moving insight into self enforced loneliness and fantasising about what could have been. Themes of loss, love, memory, and time, handled and explored with such care. The intimacy captured so beautifully. I just know I'm going to be thinking about this film for the next few days, nothing has moved me like this in a long time.
Incredible performances from the two leads. Their ability to portray raw vulnerability left me dumbfounded at points.
Perfect soundtrack that complimented the sentiments of each scene. Just the right amount of tension and release. Beautifully balanced in terms of light and dark. A perfect film all round.
Such a powerful and moving insight into self enforced loneliness and fantasising about what could have been. Themes of loss, love, memory, and time, handled and explored with such care. The intimacy captured so beautifully. I just know I'm going to be thinking about this film for the next few days, nothing has moved me like this in a long time.
Incredible performances from the two leads. Their ability to portray raw vulnerability left me dumbfounded at points.
Perfect soundtrack that complimented the sentiments of each scene. Just the right amount of tension and release. Beautifully balanced in terms of light and dark. A perfect film all round.
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.
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.
All of Us Strangers is one of the most tender love stories put to film in recent memory and a frightening number of people will choose not to see it because it is a gay one at that. Just thought I'd disclose this aspect upfront so that only the worthy stick around for this read. We good? Good.
Directed by Andrew Haigh (45 Years) and based in part on the Taichi Yamada novel Strangers, this movie tells of a reclusive London-based screenwriter named Adam (Andrew Scott of Fleabag and Sherlock) who lives in an all-too-quiet apartment building where the only other living soul appears to be the oft-drunk Harry (Paul Mescal of Aftersun), who begins to act flirtily towards him. As you may have guessed, the two eventually bond and fall in love, even as Adam finds Harry a bit mysterious at first and, partly due to what he was taught re: sexuality as a youngster, isn't as comfortable with intimate touch -- initially.
Sheila O'Malley put it best when she wrote that All of Us Strangers, almost immediately, has a "surreal, almost supernatural atmosphere". I don't know how much I ought to give away, but I can tell you it's not for naught. When I say that the apartment building seems strangely quiet, I mean it seems almost unearthly; it is no surprise that the posters make use of the almost entirely dark building where only two windows are lit up -- it is an image that sets the tone.
All the same, love is discovered in this setting (this connection, taking place in an eerie realm where connections at first seem impossible, recalls 2015's Anomalisa in a lot of ways) and it isn't long before our hearts are grabbed and then broken. This oft-surreal film is nonetheless very much, devastatingly real.
Adam is also troubled by thoughts about his parents (Jamie Bell; Claire Foy) as he keeps revisiting his (ostensibly) abandoned childhood home. He has a series of dreams (or are they dreams?) where he goes through the conversations he wishes he'd had -- the sort of conversations that frankly a lot of people, be they gay children of traditionally-minded parents or not, wish they'd had with their folks; the sort of conversations we typically don't get around to before it's too late, resorting to having them in our heads, sometimes in the form of revisiting moments and trying against all logic to rewrite them.
These sequences exemplify some of the best and most emotionally honest acting of the past year. It is one of those films that make you realize how good other films aren't, particularly those of the romance variety that too often settle for tried routines and formulas while rarely doing anything stylistically intriguing or letting the actors be truly vulnerable. (I'm aware, painfully so, that that's what the crowds want; the statement I heard from a rom-com fan in high school, that "film is about hot people and satisfying endings", still echoes in my mind.)
On a similar note: as many viewers of British/English cinema will point out, this one sticks out with its artful compositions (note especially its usage of mirrors and windows), dreamlike editing, deliberate color choices, and occasional magical realism. This isn't a first or anything, but it seems we often associate English film with gritty realism -- think This is England or Billy Elliot. I assure you, though, that the English are quite capable of outstanding visual communication. There are edits and framing/blocking choices in All of Us Strangers that cut even deeper than that one "reveal" in 45 Years. If you know, you know.
Oh and of course, as a long-time fan of Frankie Goes to Hollywood, I can't forget to mention how the film uses their 1984 album Beyond the Pleasuredome, particularly their best song "The Power of Love", as a reoccurring motif; a devastating one. The music video is also referenced, in ways I cannot reveal here. Best you go see this wonderful picture before I say too much.
And remember: let yourself be beautiful.
Directed by Andrew Haigh (45 Years) and based in part on the Taichi Yamada novel Strangers, this movie tells of a reclusive London-based screenwriter named Adam (Andrew Scott of Fleabag and Sherlock) who lives in an all-too-quiet apartment building where the only other living soul appears to be the oft-drunk Harry (Paul Mescal of Aftersun), who begins to act flirtily towards him. As you may have guessed, the two eventually bond and fall in love, even as Adam finds Harry a bit mysterious at first and, partly due to what he was taught re: sexuality as a youngster, isn't as comfortable with intimate touch -- initially.
Sheila O'Malley put it best when she wrote that All of Us Strangers, almost immediately, has a "surreal, almost supernatural atmosphere". I don't know how much I ought to give away, but I can tell you it's not for naught. When I say that the apartment building seems strangely quiet, I mean it seems almost unearthly; it is no surprise that the posters make use of the almost entirely dark building where only two windows are lit up -- it is an image that sets the tone.
All the same, love is discovered in this setting (this connection, taking place in an eerie realm where connections at first seem impossible, recalls 2015's Anomalisa in a lot of ways) and it isn't long before our hearts are grabbed and then broken. This oft-surreal film is nonetheless very much, devastatingly real.
Adam is also troubled by thoughts about his parents (Jamie Bell; Claire Foy) as he keeps revisiting his (ostensibly) abandoned childhood home. He has a series of dreams (or are they dreams?) where he goes through the conversations he wishes he'd had -- the sort of conversations that frankly a lot of people, be they gay children of traditionally-minded parents or not, wish they'd had with their folks; the sort of conversations we typically don't get around to before it's too late, resorting to having them in our heads, sometimes in the form of revisiting moments and trying against all logic to rewrite them.
These sequences exemplify some of the best and most emotionally honest acting of the past year. It is one of those films that make you realize how good other films aren't, particularly those of the romance variety that too often settle for tried routines and formulas while rarely doing anything stylistically intriguing or letting the actors be truly vulnerable. (I'm aware, painfully so, that that's what the crowds want; the statement I heard from a rom-com fan in high school, that "film is about hot people and satisfying endings", still echoes in my mind.)
On a similar note: as many viewers of British/English cinema will point out, this one sticks out with its artful compositions (note especially its usage of mirrors and windows), dreamlike editing, deliberate color choices, and occasional magical realism. This isn't a first or anything, but it seems we often associate English film with gritty realism -- think This is England or Billy Elliot. I assure you, though, that the English are quite capable of outstanding visual communication. There are edits and framing/blocking choices in All of Us Strangers that cut even deeper than that one "reveal" in 45 Years. If you know, you know.
Oh and of course, as a long-time fan of Frankie Goes to Hollywood, I can't forget to mention how the film uses their 1984 album Beyond the Pleasuredome, particularly their best song "The Power of Love", as a reoccurring motif; a devastating one. The music video is also referenced, in ways I cannot reveal here. Best you go see this wonderful picture before I say too much.
And remember: let yourself be beautiful.
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.
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.
I saw this at the Cork International Film Festival, so seeing 2 Irish leads like Andrew Scott and Paul Mescal performing as they did was a tantalizing factor for me and those watching.
The film brilliantly captures one man's complex processing of grief and loss, with the protagonists particular story holding different factors for viewers to latch on to. It is a raw watch, which touches on the themes of loss, pain, and love.
The 2024 awards season should look favourably on Andrew Scott's performance in this film. His portrayal of this mans intriguing, yet sensitive approach of coming to terms with such tragic events in his life could not have been played better by any other actor. An enormous amount of credit must to go Andrew Haigh's directing and writing, who produced a flawless ensemble to play off of a script where every scene and word was situated perfectly.
The film brilliantly captures one man's complex processing of grief and loss, with the protagonists particular story holding different factors for viewers to latch on to. It is a raw watch, which touches on the themes of loss, pain, and love.
The 2024 awards season should look favourably on Andrew Scott's performance in this film. His portrayal of this mans intriguing, yet sensitive approach of coming to terms with such tragic events in his life could not have been played better by any other actor. An enormous amount of credit must to go Andrew Haigh's directing and writing, who produced a flawless ensemble to play off of a script where every scene and word was situated perfectly.
¿Sabías que…?
- TriviaAndrew Haigh's childhood home served as the filming location for the house in which Adam finds his parents.
- ErroresAndrew Scott's character grew up in Croydon until the age of 12 with both parents having English accents, yet he speaks with an Irish (Dublin) accent.
It's explained in the film why Adam has an Irish accent. He went to live with his grandmother in Dublin at the age of 12 after his parents died in the car accident. He later moved to London as an adult.
- ConexionesFeatured in The 7PM Project: Episode dated 2 February 2024 (2024)
- Bandas sonorasShe Who Dares (Big Band Original)
Performed by Colman Brothers
Written by Andrew Colman and Matthew Colman
Published by Cacophony Ltd.
Courtesy of Colman Brothers
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- How long is All of Us Strangers?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- Países de origen
- Sitios oficiales
- Idioma
- También se conoce como
- Todos somos extraños
- Locaciones de filmación
- 151 Purley Downs Road, South Croydon, Croydon, Londres, Inglaterra, Reino Unido(Adam's parents' house)
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Total en EE. UU. y Canadá
- USD 4,050,103
- Fin de semana de estreno en EE. UU. y Canadá
- USD 117,965
- 24 dic 2023
- Total a nivel mundial
- USD 20,226,058
- Tiempo de ejecución
- 1h 45min(105 min)
- Color
- Mezcla de sonido
- Relación de aspecto
- 2.39 : 1
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