All of us hurt. All of us hope. All of us love.
One night in his near-empty tower block in contemporary London, Adam has a chance encounter with a mysterious neighbor Harry, which punctures the rhythm of his everyday life.
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FULL SPOILER-FREE REVIEW @ https://fandomwire.com/all-of-us-strangers-bfi-london-film-festival-review/ "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." Rating: B+
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.
"Adam" (Andrew Scott) lives a rather lonely life atop a London tower block where he is struggling to write a new book. He's obviously had some success before, but right now he spends much of his time in front of the television watching video-taped editions of the BBC's "Top of the Pops" music programme. A fire alarms sends him onto the street where he espies the only other person living in their brand new building - who didn't bother to evacuate. Back upstairs that man knocks on his door, introduces himself as "Harry" (Paul Mescal) and suggests a night cap - with benefits! "Adam" declines and next day takes a train, goes for a walk and appears to pick up a man in a park. He follows him, they rendezvous outside an off-licence and we discover that this is actually his dad (Jamie Bell) who takes him home to his mum (Claire Foy) where they share a drink and a fond reminisce. He goes home and again bumps into "Harry" and we begin to sense that there is a smouldering chemistry between these two men that is slow-burning, but potent. In the course of their chat - one of those first date, polite, conversations about getting to know each other when you really just want to get on with some "furious jumping" - we discover something rather startling about his parents and this news completely recalibrates the story as the two men gradually see their relationship evolve and we learn a great deal more about what has led "Adam" to his current life of introspection and isolation. On many levels this is about intimacy. Sure, between the two men, but also between him and - separately and together - his parents and himself as we all embark on quite a poignant journey of discovery that doesn't shy away from issues of sexual and personal identity, (largely benign) ignorance and of longing. Not just physical longing, but psychological longing too. At times it reminded me of Haigh's must less sophisticated "The Weekend" (2011) in that it puts together two men in a closely knit scenario where neither know the other, both are distinctly different in personality and the conversational dialogue is plausible and relevant. The denouement takes a bit of getting used to - it's left field but then it isn't - before all fits quite neatly if disturbingly at the end. I've always been a fan of the ballsy Jamie Bell - and he delivers engagingly and emotionally here as does an on-form Mescal who again shows his acting diversity as the deliverer of character parts with, here, the perfect foil to the under-stated performance from Scott whose persona is about as enigmatic as I have seen. It benefits from a second viewing, and is most definitely not the slushy boy meets boy romance you might expect. Good soundtrack too - Frankie's "The Power of Love" sounds superb with cinema sound...
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