Andrew Haigh's ethereal new film ALL OF US STRANGERS plunges us deeply into the subconscious of its main character, Adam (an excellent Andrew Scott), a writer living in a huge desolate apartment complex.
A chance encounter with another tenant (the only other one?) Harry (the equally fine Paul Mescal), sets his mind racing. Adam finds himself traveling back to his childhood home where he visits his parents seemingly locked in time. While full grown himself, his parents are as they were thirty years prior. Sensitively played by Claire Foy and Jamie Bell, his mum and dad greet him warmly yet are a bit wary about Adam's lifestyle. That is being gay and single.
Haigh, who adapted Taichi Yamada's novel for the screenplay, takes a metaphysical approach to the story, but never loses track of his quartet of main characters. The 'Twilight Zone' aspects never intrude on the personal tales - they gently amplify them. The performances are all exceptional with a delicate scene between Foy and Scott being one of the most astonishingly touching in some time. The scenes between Mescal and Scott are palpable, and Bell has a glow about his persona here that hits just the right notes.
Jamie Ramsay's exquisite 35mm cinematography works in unison with Jonathan Alberts' editing rhythms and backed by Emilie Levienaise-Farrouch's gentle score. Haigh orchestrates ALL OF US STRANGERS with empathetic grace. It's a paean to loneliness and wanting, and a lovely one at that.
A chance encounter with another tenant (the only other one?) Harry (the equally fine Paul Mescal), sets his mind racing. Adam finds himself traveling back to his childhood home where he visits his parents seemingly locked in time. While full grown himself, his parents are as they were thirty years prior. Sensitively played by Claire Foy and Jamie Bell, his mum and dad greet him warmly yet are a bit wary about Adam's lifestyle. That is being gay and single.
Haigh, who adapted Taichi Yamada's novel for the screenplay, takes a metaphysical approach to the story, but never loses track of his quartet of main characters. The 'Twilight Zone' aspects never intrude on the personal tales - they gently amplify them. The performances are all exceptional with a delicate scene between Foy and Scott being one of the most astonishingly touching in some time. The scenes between Mescal and Scott are palpable, and Bell has a glow about his persona here that hits just the right notes.
Jamie Ramsay's exquisite 35mm cinematography works in unison with Jonathan Alberts' editing rhythms and backed by Emilie Levienaise-Farrouch's gentle score. Haigh orchestrates ALL OF US STRANGERS with empathetic grace. It's a paean to loneliness and wanting, and a lovely one at that.