All of Us Strangers

Andrew Scott and Paul Mescal in an erotically and emotionally charged ghost story. One of the greatest cinematic experiences of the year!

Adam (Andrew Scott from ›Fleabag‹ and ›1917‹) lives a reclusive life in an ultra-modern but eerily empty apartment building in London. One night he meets the mysterious Harry (Paul Mescal from ›Aftersun‹ and ›Normal People‹), who lives above him. They begin a passionate affair.

But Adam is actually living in the past. Not just figuratively; his father and mother, who died in a car crash many years ago, still seem to live in his childhood home. In trying to reconcile these two worlds – his very immediate love for Harry and his supernatural connection to his parents – Adam risks losing everything.

Like all successful works of art, ›All of Us Strangers‹ creates a space that we enter as ourselves, and leave as someone else. Themes and motifs of loss and mourning, which run through the film from the very first shot, are brought together in the finale. This ending, however, is a moment of great cinematic bliss. For it’s not often that we experience an instance of such sublimity. If we’re willing to open ourselves to it, it will remain unforgettable: the film lives on inside us.

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