On a couch at night, Adam (Andrew Scott), a forty-something single man with a loving nature, sits comfortably watching old episodes of the 1980s Top Of The Pops series, living in the past and munching biscuits. He goes to his refrigerator to find leftovers from a Chinese takeaway. Food for solace is plentiful here. This person certainly needs comfort, which comes in the form of another occupant of this London tower block Harry (Paul Mescal). Both desire contact. So we are talking about the All Of Us Strangers movie review.
This film is all about loneliness Adam’s childhood was full of bullying and he suffered the death of his parents when he turned eleven as well as growing up in an unenlightened world that had no compassion towards others. It was even more complicated for him during the 1980s since everyone was afraid of AIDS coming closer to them making his situation worse than before. His trauma sometimes seems like bad dreams. All Of Us Strangers blurs boundaries between dreams, fantasies, memory, and reality itself throughout its length. That’s how it happens in Andrew Haigh’s heart-rendingly sad but beautiful journey. A comforting blanket kind of film that gives hope to those who need it most. A delicate story about a fragile person.
Adam played by Scott is seen as someone who doesn’t open himself up or hide away from pain, instead, he smiles while sobbing due to agony that keeps him hurting inside. This choice couldn’t have been better because the actor has some dark. But shining eyes on which other audiences may witness either trouble or troubled things. This time it was the first one and these eyes were begging for mercy like a timid child would do when he sees something scary – like ghost parents welcoming him back when he returns home again.
They argue about everything unresolved talking all night long as if they are alive again. Coming out to ghosts is not simple… His safe place lies in Harry though – ambitious, skanky, a messiah of some kind that can be relied on to get Adam shaped up. The two actors have fantastic chemistry and their love-making scenes in the film are so raw and honest.
However, Haigh’s work slants toward an autobiographical account from Yamada Taichi’s 1987 novel. It’s full of romantic images: shot on film, everything about it is beautiful both inside and outside – with its dreamy transitions between scenes and lighting that make it seem like they’re always filming during golden hour. Yet this is where cosmic grandeur comes into play. Hardly a minute goes by without feeling some sort of pain. Forever with these two boys there, you wish to stay as they need each other and share one life thread.
It is hard to find another recent drama/movie that seems so openly personal yet yearning for something at the same time, it’s almost bare-naked. In a way, this feels like forgiving not only Haig but also others involved as well. He has laid his emotions all in front of us all, leaving no stone unturned. Even the characters themselves are also his hope for his lifeline.
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