As someone unfamiliar with Andrew Haigh’s (Lean On Pete, 45 Years, Weekend) work, beginning my BFI London Film Festival 2023’s coverage with an early morning viewing of the filmmaker’s latest flick turned out to be quite an eye-opening experience. All of Us Strangers focuses on Adam (Andrew Scott) and two personal, deeply emotional storylines that will leave no one indifferent. As his romantic relationship with Harry (Paul Mescal), a neighbor in his building, evolves, Adam finds himself trapped in past memories that unfold… in the present.

I often criticize marketing departments for sharing narrative information that I consider to hold much more impact if experienced for the first time on the big screen. In the case of All of Us Strangers, this is utterly stark, as the first act culminates in a revelation that should be shocking to the audience – and Haigh himself seems to structure his script in a manner that viewers would genuinely feel said revelation – but this is part of the film’s premise, as well as an important story element of the released trailers.

All of Us Strangers Critique

Also Read: Poor Things Venice Film Festival Review – Emma Stone Shines in the Best Film of the Year So Far

Adam’s parents died when he was just 12 years old. However, the trauma marked him in such a way that, along with the loneliness, sadness, and depression that accompany his adult life, Adam’s imagination allows him to visit his old family home and interact with his parents in the present, telling them everything he always wanted to tell them, as well as sharing how much the world has changed (or not). From the fact that he’s homosexual and how much Adam was afraid of his parents’ reactions to the positive and negative memories shared by the family, All of Us Strangers is an endless collection of emotionally devastating dialogue scenes.

It’s relatively easy to predict, early in the movie, that Haigh will explore how childhood trauma leads to a long-lasting grieving process and how difficult it is to overcome something as painful and unfair as the premature death of someone you deeply love. Looking back, All of Us Strangers contains some moments deliberately forced to inject doubt in the viewers as to what is real or not, including a trippy sequence after a night of alcohol and drugs in a club that, frankly, takes focus away from the central narrative themes.

The romance with Harry is less captivating than Adam’s interactions with his parents, but the former relationship is still a crucial component for a more complete understanding of the protagonist’s feelings. All of Us Strangers also addresses, albeit from a more secondary point of view, Adam’s shy sexual life, with his homosexuality generating uncomfortable yet necessary conversations with his parents so that he can embrace himself without shame, fear, or disillusionment.

Haigh crafts a truly powerful, tear-inducing third act. There are numerous memorable dialogues, but I believe many viewers will retain a certain restaurant scene between Adam and his parents, endlessly replaying it in their heads for a few days. All of Us Strangers could be accused of being overly melodramatic, but personally, I find the performances so convincingly human that it’s difficult to fault a film for genuinely managing to move the audience.

Emilie Levienaise-Farrouch’s (Living) score, jointly with the songs picked to accompany All of Us Strangers, are naturally technical elements that contribute immensely to the intense use of tissues and, as a last resort, the sweater sleeves. No one will be apathetic to the immersion Emilie creates, from the opening piano notes to the cathartic song that closes out the movie. However, the main spotlight inevitably falls on the cast, which is filled with phenomenal actors.

Andrew Scott (1917) delivered outstanding supporting performances in his career, but now the actor demonstrates that he’s not only capable of leading a heavy, complex story like All of Us Strangers, but also proves that he has the talent necessary to express himself with subtle but powerful emotion. Paul Mescal (Aftersun) is on an impressive climb, offering yet another committed display, sharing tremendous chemistry with Scott, and giving fantastic interpretations of unforgettable lines of dialogue.

Appreciation notes are extended to Jamie Bell (Rocketman) and Claire Foy (Women Talking), who perfectly represent the protagonist’s parents. All performances hold a transformative human layer, but Bell and Foy beautifully carry out the task of bringing out Adam’s feelings and thoughts through detailed family discussions. All of Us Strangers doesn’t exactly possess high replay value, but it’s so globally impactful that a single viewing will last for a long, long time.

In Conclusion

All of Us Strangers is, without a doubt, overwhelmingly emotional and brutally devastating. Andrew Haigh explores childhood trauma and the protagonist’s complex grieving process through countless memorably powerful, thought-provoking dialogues, performed brilliantly by the entire cast, especially Andrew Scott. The background music by Emilie Levienaise-Farrouch creates an ideal melancholic atmosphere for the heavy, heartbreaking narrative, but the songs chosen for the final phase of the film will induce thousands of tears worldwide. It occasionally loses its thematic focus, and it’s unlikely to be watched again anytime soon, but it’s even more improbable to be forgotten.

8/10