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ALL OF US STRANGERS (in theatres)

Grief. Loss. Isolation. Unfathomable pain. Director Andrew Haigh and actor Andrew Scott with masterful precision scalp layer after layer of emotional, psychological trauma hidden in the depths of a damaged soul; a wound, festering for a lifetime, that must be excised, cleansed, allowed to scar. “Adam”, (Scott) a screenwriter, insulated in an empty high rise in London, spots another dweller “Harry” (Paul Mescal) and with profound cinematic subtlety their connection allows viewers into a carnal relationship rarely visited on the screen; hearts and souls, haunted, scripted by circumstances beyond their control; exquisitely their intimacy, remarkably legitimate, redolent with salvation and love, is born.

Emotionally torn, Adam revisits his parents, whose lives expired, when he was twelve years old: Clair Foy and Jamie Bell with natural ease depict their affection for their disillusioned son; Scott’s genius lies in his capacity to retreat to boyhood mannerisms in his adult form; a scene in his juvenile pajamas is profoundly, poignantly heart-wrenching.

“All of Us Strangers” is aglow with a universal pathos, a shared, recognizable aura, psychic sanctuary, knowing no parameters, allowing all of us strangers a haven of redemption, deliverance from the agonies of loss, opening corridors of tranquility, peace. 



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