All of Us Strangers – An Introspective Ghost Story

Grief and loneliness are the two most difficult facets of the human experience to overcome. We as humans are social creatures by nature and our fulfilment in life can largely be attested to the depth of the connections we make. When one’s most coveted connections are severed, it can make life seem meaningless. Andrew Haigh has built a successful career within the independent film sphere through crafting films that subtly dissect the most complex intricacies of human relationships. All of Us Strangers, based on the book “Strangers” by Taichi Yamada, is an exploration of grief, and loneliness, specifically through the Queer perspective, examining how humans deal with those often complex emotions through reliving memories and fabricating moments.

Andrew Scott delivers an emotionally intense performance as Adam, a struggling and lonely author who decides to open a window into his past, after an awkward, but potentially romantic encounter with his neighbour, Harry (Mescal). When Adam takes a train to his childhood home in attempt to find some inspiration for his writing, he mysteriously finds that his parents are living in that same home, and are exactly the same age they were at the time when they died in a car accident. Through that process, Harry is given the chance to better know his parents as an adult and have conversations that he never had the chance to have with them, including revealing his sexuality.

Ultimately, All of Us Strangers is only as powerful as what audiences bring to it. From a storytelling standpoint, its story doesn’t have a lot of meat on its bones. It is a reflective tone poem that is metaphorical in nature. Meanwhile, it is never made clear whether audiences should perceive the events that unfold throughout the film as reality, or the collection of fragmented memories and pieces of dreams cobbled together by Harry. While this sense of ambiguity certainly works in the film’s favour, it also leaves the film open to countless different interpretations.

Haigh’s gentle direction may seem off putting at first to some, but his decision to convey the film’s fantasy elements with a dose of realism truly pays off. It is also gorgeously shot, utilizing a hazy veil that makes it appear to be almost dreamlike. However, at times, Haigh’s screenplay unfortunately clashes with his direction. While the film actively tries to be a tearjerker, it often features lines of dialogue that lack subtlety and nuance. Aside from Scott’s star making performance, All of Us Strangers boasts an incredible ensemble, all of whom deliver impactful performances. Claire Foy in particular continues to prove that she is one of the greatest actresses of her time, delivering a powerhouse performance as Adam’s mother.

The film concludes on a puzzling note that is likely to divide audiences. At first, its pessimistic message seems to clash with the tone of the rest of the film, but upon more thought, it is utterly heartbreaking. In what was a daring note to end on, that choice is one that is sure to lead to think pieces and generate conversations for years to come.

At the end of the day, despite some spotty writing, All of Us Strangers delivers a beautiful and emotionally resonant rumination on death, grief, and living one’s life with unanswered questions.

*still courtesy of Searchlight Pictures*

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Tristan French