There was a substantial buzz around this film out of Telluride last year but I’m glad I was able to go into this blindly. Loosely based on the 1987 novel Strangers by Taichi Yamada, writer/director Andrew Haigh captures the theme of loss, loneliness, and love with such a piercing emotional impact. Haigh transplants the story from Tokyo to modern-day London where 40-something screenwriter, Adam (Andrew Scott) lives a lonesome existence in a high-rise flat. Grief manifests differently from one person to the next, Adam still hasn’t quite shaken the loss of his parents in a car crash 30 years prior.

One day, his neighbor Harry (Paul Mescal) suddenly comes knocking at his door with a bottle of Vodka. While Adam rejects his advances at first, it’s clear Harry’s made an impression on him. In a typical rom-com, this would play out like a frothy meet-cute, but here it’s tinged with sadness and a hint of mystery. Not much is known about Harry but when he and Adam eventually get together, their bond is undeniable. Scott and Mescal have a palpable yet easy chemistry, there’s something playfully sweet, sexy yet intensely emotional that transcends physical attraction. The humorous way they discuss the terms queer vs gay is amusing, and their love scene is intimate without being vulgar.

It’s revealed that Adam is working on a script about his parents and he decides to visit the suburban town where he grew up. As he gets off the train and walks into town, he meets a man who turns out to be his father. He casually invites Adam home and there he finds his parents (Jamie Bell and Claire Foy) are still living their life as they were when Adam was 12 years old. I wasn’t aware of what Yamada’s novel is about before seeing this film, so I was wondering whether this film deals with time travel or ghost elements or whether what we’re seeing is merely Adam’s memory. I think it’s best that you find it out for yourself when you see this movie.

I was quite captivated by the conversations between Adam and his mom, especially regarding the fact that he’s gay, something his parents never knew about. At times, his mom would ask things about Adam’s sexual orientation that might come across as inappropriate but clearly, her ignorance comes out of a place of love. As one would expect from a mother living in the 80s, she’s worried people would be nasty to his son, that he’d end up lonely or worse, die of AIDS. The father-son conversation is more matter-of-fact, as his dad admits he wasn’t as sensitive to his son’s problems when he was a kid as he ought to have been, and he’s sorry for it.

The film weaves in and out of Adam’s interactions with his parents and the new life he shares with Harry. It’s as if Adam is living life as a twelve-year-old–curling up in bed between his parents in his pajamas, and as a 40-year-old man–drinking with his boyfriend, going to gay bars, etc. As an 80s kid, I enjoy the 80s songs that are played throughout, including one of my favorites sung by Pet Shop Boys, You Were Always On My Mind. The lyrics suddenly carry a whole new meaning when played in this film “Maybe I didn’t treat you… quite as good as I should have… Maybe I didn’t hold you… all those lonely, lonely times.”

Haigh craftily toggles between the notion of dreams and reality, but it’s not something the filmmaker is concerned about. Whether we think what’s happening is real or not is irrelevant, what matters is that we’re emotionally invested in his journey. I appreciate that Haigh wears his heart on his sleeve in his unabashedly melancholic direction, allowing his characters to be really in tune with their emotions. Anyone who’s loved a parent can relate to Adam’s pain and his desire for a reconnection to his past, especially when there’s so much left unsaid. As I was watching it, I got an aching heartache missing my late mom who passed away on my 16th birthday. I often dream of my mom too and how I wish I could tell her things about my life now.

Andrew Scott is quite mesmerizing as the soulful hero of the story. I know he’s a terrific actor from his TV roles but he’s got that cinematic leading man quality that’s put to good use here. This is perhaps the most emotionally delicate character he’s portrayed that I’ve seen so far, definitely a career-best role that would deservedly garner him plenty of awards. As a gay actor himself, this story must’ve deeply resonated with him and it shows. As for Mescal, I’m actually more impressed (and affected) by his convincing performance here than in Aftersun. He’s got the right balance of being virile and sweet-tempered at the same time. Foy and Bell provide impactful supporting performances as Adam’s parents.

I saw this during a local film festival in October but I remember the jolt I felt when I saw that ending. I wasn’t sure what to think at first but it’s one I can’t easily shake. Reading an interview with the filmmaker confirmed my theory about what this film is about, but I’m glad I didn’t know that while I was watching it. The sense of mystery and melancholy is magnified by Emilie Levienaise-Farrouch’s evocative score and Jamie Ramsay’s ethereal cinematography that looks stunning on the big screen. Overall, All Of Us Strangers is a haunting, poignant, and deeply heart-wrenching piece that I’m glad I packed tissues before going into the theater.

Have you seen All Of Us Strangers? I’d love to hear what you think.

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