All of Us Strangers

I've been wanting to watch "All of Us Strangers" ever since I found out about this movie, and let me tell you, it didn't disappoint. This subtle masterpiece weaves a poignant tale of grief, loneliness, and love, leaving an indelible mark on the heart. The brilliant performances from the two main actors elevate the film to a level of emotional depth rarely seen.

The story unfolds as a masterclass in tragedy, exploring the intricate web of human connections and the profound impact of loss. The movie broke my heart into a million pieces tonight, evoking a range of emotions that lingered long after the credits rolled.

"All of Us Strangers" is more than a film; it's an experience that resonates with the rawness of life's complexities. The nuanced storytelling, coupled with stellar acting, makes it a must-watch. Highly recommended for those who appreciate films that delve into the intricacies of the human soul.

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.

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.

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.

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.