One night, screenwriter Adam, in his near-empty tower block in contemporary London, has a chance encounter with his mysterious neighbor Harry that punctures the rhythm of his everyday life. As Adam...
Slow moving, confusing, and too abstract, director Andrew Haigh‘s “All of Us Strangers” at first glance seems like a clear swing and a miss. The story falls victim to queer cinema and indie clichés with far out of the mainstream subject matter. The characters aren’t all that compelling, and for the majority of the story, it’s frustratingly unclear what is happening. But it’s the film’s absolutely stunning last half hour that proves to be the much-needed life preserver, with a haunting, deeply moving, and profound final act that truly is an outstanding piece of cinema.
Adam (Andrew Scott) lives in a cold, lifeless apartment tower in London. It’s not a lively place, and is one that feels as depressed as its residents. Adam has a chance encounter with his mysterious neighbor Harry (Paul Mescal), who disrupts the mundane routine of his day to day existence. The two men develop a romantic relationship, but Adam finds himself preoccupied with memories of the past. Mentally troubled by a childhood trauma that ended with both parents dead, Adam begins taking trips back to his childhood home. It’s a shocker that one day, his mom and dad (Claire Foy and Jamie Bell) appear to still be living in their suburban abode, carrying on the same as they were the day they died over three decades earlier.
Haigh builds a story of grief and love, with a strange mix that includes elements of fantasy. Adam interacts with his parents at the age they were when they were killed, but with his age in the present. It’s a lovely way to film a memory, and is a daydream with which many of us who have lost loved ones will relate. How wonderful it would be to talk to those who are gone from our lives about what we’re doing now. It’s touching to hear Adam tell his mom and dad what his life has become, and to hear how proud they are of him. They aren’t exactly ghosts, but they are a strong presence in the man’s life.
The film explores themes of childhood pain, trauma and the role they play in personal relationships, and Scott and Mescal give absolutely phenomenal performances. They have a great chemistry, as do Foy and Bell. The cast is at the top of their game.
The problem is that there is a great idea for a story here (the film is loosely based on the 1987 novel Strangers by Taichi Yamada), but the movie is almost entirely built out of filler. It isn’t a good sign that I looked at my watch just 15 minutes into the film, wondering how much time was left. If you can hang on through the explicit sex scenes, purposefully vague exposition, and stale, pointless vignettes of drug use while dancing in a club, you will be rewarded with a gut punch of a payoff. Be forewarned that it is a chore to get through, however.
I love the idea and sentiment behind “All of Us Strangers,” but the execution is poor for the majority of the film. It’s the film’s absolutely devastating final half that is nothing short of exceptional. There’s a scene in a diner that ripped my heart right out of my chest (note that this is difficult subject matter, especially if you’ve ever dealt with the loss of a parent), and it makes the film one that will always remain unforgettable. This is seriously one of the top 5 saddest movies I have ever seen, an emotionally affecting work that oozes with sincerity and soul.
