Andrew Scott

Paul Mescal

Carter John Grout

Jamie Bell

Claire Foy

Ami Tredrea

Emilie Levienaise-Farrouch

Carla Morris

Per Boström

Patrick Ghislain

Christer Melén

Paul O'Hara

Dearbhaile Collins

DanTram Nguyen

Katie Goodson

Andrew Haigh

Jeremy Campbell

Emma Mager

Amaka Ugwunkwo

Bill Brown

Zoe Clare Brown

Stevie Hayward

Stu Laurie

Susie Bookers

Richard Juneman

Connie Farr

Luke Deering

Nicola Buck

Eliza Heslop

Ander Luque

Taichi Yamada

Graham Broadbent

Peter Czernin

Sarah Harvey

Ben Knight

Diarmuid McKeown

Ollie Madden

Daniel Battsek

Farhana Bhula

James Bowman

Max Clarke

James Hyde

Erdem Gonulay

Olivia Hulme

Katie Lovie

Anthony Benjamin

Jason Wingrove

Roland C. Phillips

Nick Kenealy

Jason Stevens

Edward Johns

Chloë Kilby

Mat Bartram

Francesco Le Metre

Neil Stemp

Freddie Robarts

Jonathan Alberts

Sarah Blenkinsop

Jamie D. Ramsay

Matt Curtis

Sarah Finlay

Marian Murray

Joakim Sundström

Diana Wyand

Maurizio Detomaso

Jorge Alarcón

Thomas Markwick

Marco Petrucco

Arizona Eastwood

Michael King

Martin Jones

Scott McIntyre

Alexander Bracq

Kenny Knight

Kahleen Crawford

Takuro Ishizaka

Lauren Doss

Alysia Daly

Olivia Ashman

Alistair Hopkins

Ismael Abdulahi

Paolo De Battista

Jess Alexander

Dave Blacker

Martin Brown

Angus Carter

Alfie Winston Davies

Marcus Doherty

Chris Edwards

Alice Field-Rayner

Sarah Fletcher

Adio Fok

Andrew Holland

Lloyd Inkson

Joe Linfield

Rory Angel O'Brien

Greg Page

Oliver Gillen Toon

Daniel Valentine

Emily Roberts

Tom Anderson

Paul Conway

George Elliott

Romance

Drama

Fantasy

All of Us Strangers

Film4 Productions

Blueprint Pictures

Searchlight Pictures

TSG Entertainment

United Kingdom

United States of America

Manuel São Bento

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+

Brent Marchant

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.

CinemaSerf

"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...

I just watched this film , it was so boring I rushed it on in places not worth yr time to watch it ! !

English

Andrew Scott and Paul Mescal on sharing a bed in All of Us Strangers | EE BAFTA Film Awards 2024

Dreamscape Announcement Trailer

Andrew Scott, Paul Mescal, Jamie Bell, and Andrew Haigh talk All of Us Strangers | Film4

Andrew Scott and Paul Mescal on creating intimacy in All of Us Strangers | BAFTA Interview

All of Us Strangers Director Andrew Haigh on His Emotionally Overwhelming Love Story

Behind-The-Scenes Broadcast Special

ALL OF US STRANGERS' Most Essential Scene According to Andrew Haigh

"Circle of Family" Featurette

'All of Us Strangers' w/ Andrew Scott, Jamie Bell & more filmmakers | Academy Conversations