Director: Andrew Haigh
Writer: Andrew Haigh
Stars: Andrew Scott, Paul Mescal, Claire Foy
Synopsis: A screenwriter drawn back to his childhood home enters into a fledgling relationship with a mysterious neighbor as he then discovers his parents appear to be living just as they were on the day they died, 30 years before.
While it may come as a surprise that a film boasting a top-tier cast and an acclaimed director initially remained under the radar as the fall film festival season approached, such hidden gems often prove to be the true treasures of these events. All of Us Strangers boasts an ensemble of talented actors, including Andrew Scott of Fleabag fame, Claire Foy known for The Crown, and Paul Mescal, a recently Oscar-nominated actor. The film is skillfully directed and written by Andrew Haigh, recognized for his poignant portrayals of gay culture and relationships in works like Looking, Weekend, and the critically acclaimed 45 Years. Following its premiere at the Telluride Film Festival, All of Us Strangers quickly gained recognition, with its reputation continuing to grow after its showing at the New York Film Festival. The film has generated substantial buzz and even sparked discussions about potential Oscar recognition. This acclaim is well-deserved as the film delivers an intimate, emotionally charged experience, making it one of the most heart-wrenching films of the year. The ensemble cast delivers compelling performances throughout, and the film adeptly balances the dichotomy of themes it explores.
The film’s central focus is on Adam (Andrew Scott) as he embarks on a profound journey to explore his relationship with his parents, portrayed by Claire Foy and Jamie Bell. Simultaneously, he navigates the complexities of a budding connection with his neighbor, played by Paul Mescal. These two storylines run in parallel, often shifting between visits to his childhood home to see his parents and interactions with his neighbor in his apartment complex.
As he engages in conversations with his parents, Adam grapples with feelings of nostalgia and longing, often yearning for conversations he was unable to have or subjects he couldn’t broach during his youth. These discussions transport him back to the core of his adolescence, forcing him to confront the void left behind and how he has coped with it. The nuanced dynamics between parent and child are portrayed realistically. While Adam wishes for these reunions to be filled with joy and memories, he is confronted with challenging emotions as he shares his life with his mother and father. These encounters serve as a reminder that relationships aren’t always about ease, bliss, or happy memories.
As Adam departs from his parents and returns to his apartment, he frequently engages with his mysterious neighbor, Harry (Mescal), allowing himself to explore sensuality and genuine connection. It becomes evident that Adam’s upbringing has emotionally walled him off from most people, leaving him detached. As he addresses the root of these emotional barriers in his conversations with his parents, he begins to apply the growth he experiences to his adult life with Harry. This transformation is akin to a coming-of-age or self-actualization journey.
The themes explored in these two storylines may appear inherently juxtaposed in terms of their subject matter, which might initially leave viewers perplexed. However, director Andrew Haigh brilliantly interweaves these themes in a way that not only makes perfect sense but also complements each other seamlessly. The transitions between Adam’s childlike innocence and his burgeoning adult sexuality are skillfully handled, never causing any jarring moments. Instead, they appear intentionally crafted to create a subtextual narrative that gracefully envelops the entire story.
At the heart of the film, Andrew Scott delivers one of his most compelling performances. While more understated than his comedic role in Fleabag, he effortlessly embodies every emotional nuance his character demands. His moments of happiness are deliberately restrained, lending his character a fitting, shy demeanor that aligns seamlessly with Haigh’s vision. Conversely, his moments of despair are equally powerful, immersing the audience in his emotional turmoil.
Scott’s chemistry with Mescal is electrifying, delving into both passionate sensuality and the more tender, intimate moments they share. Claire Foy also delivers a stellar performance, portraying Scott’s perpetually youthful mother with unwavering believability. Her kind yet apprehensive nature beautifully complements Scott’s character, allowing her to shine brilliantly without overshadowing the ensemble but rather sharing the spotlight effortlessly.
As for potential drawbacks, it’s challenging for me to find any significant faults with this film. Viewer engagement with the story may depend on personal preferences regarding pacing, style, and tone. While some scenes could have been slightly trimmed, and others might have benefited from a bit more breathing room, the film worked almost flawlessly for me. Some writing choices may have held it back from achieving a perfect score in my view. However, it’s evident that Andrew Haigh is a skilled, stylized film director who adeptly realizes the stories he envisions and crafts them to fit his unique vision.