Sun. Sep 29th, 2024

‘All of Us Strangers’: Andrew Scott Is Devastatingly Good in Fiery, Gay Knockout<!-- wp:html --><p>Parisa Taghizadeh/Searchlight Pictures</p> <p>Writer-director <a href="https://www.thedailybeast.com/hbos-looking-gays-and-sex-are-we-all-expecting-too-much">Andrew Haigh</a> has made a name for himself in the realm of sad, gay cinema. The director’s 2011 breakout hit, <a href="https://www.thedailybeast.com/the-most-overlooked-movies-of-2011-warrior-weekend-like-crazy-and-more-videos"><em>Weekend</em></a>, became a lightning rod for some members of the queer community, with discussion of the film being a go-to icebreaker on first dates—well, at least for me. <em>Weekend</em>, for all of its fans, was a film that never connected with me, no matter how hard I tried. Bringing it up on dates was an effective litmus test for whether or not I might click with someone as a prospective partner. But it speaks to Haigh’s talent as a filmmaker that, although his most beloved feature could never pierce the veil for me, I’ve greatly enjoyed his other work, particularly 2015’s stunning <a href="https://www.thedailybeast.com/give-charlotte-rampling-the-oscar"><em>45 Years</em></a>.</p> <p>In the case of Haigh’s latest project, the sublimely emotional <a href="https://www.thedailybeast.com/obsessed/paul-mescal-and-andrew-scott-join-sexy-forces-in-strangers"><em>All of Us Strangers</em></a>—which screened Thursday at the New York Film Festival—things are very different. Here, Haigh takes the queer experience and makes it universal; the specificity of gay trauma is merely a catalyst for Haigh’s characters to embark on a journey through their best and worst selves. It’s at those extremes that Haigh crafts his most accessible film yet, a tender treatise on the undying power of love and what happens when we ignore its force.</p> <p><em>All of Us Strangers</em> is loosely based on Taichi Yamada’s 1987 novel <em>Strangers</em>, yet has Haigh’s signature touches all over it. I don’t <em>just </em>mean <a href="https://www.thedailybeast.com/yes-looking-is-boring-its-the-drama-gays-deserve">the hot guys</a>, but I am also directly referring to the hot guys. The film stars <a href="https://www.thedailybeast.com/fleabag-season-two-is-flawless-television-the-best-show-youll-watch-this-year">Andrew Scott</a> and <a href="https://www.thedailybeast.com/obsessed/gods-creatures-watch-paul-mescals-other-great-2022-performance">Paul Mescal</a> as Adam and Harry, two neighbors in a recently completed London high-rise who find themselves repeatedly bumping into one another, if only because there aren’t yet many other tenants to crowd the place. One night, Adam opens his door to find a drunken Harry standing in the hallway, asking if Adam would like to have a drink… or whatever else a drink may lead to. Though intrigued, Adam turns him down in favor of burying himself in his work: a screenplay set in 1987, about his parents who died in a car crash when he was just 12 years old.</p> <p><a href="https://www.thedailybeast.com/obsessed/all-of-us-strangers-review-andrew-scott-stuns-in-gay-romantic-drama">Read more at The Daily Beast.</a></p><!-- /wp:html -->

Parisa Taghizadeh/Searchlight Pictures

Writer-director Andrew Haigh has made a name for himself in the realm of sad, gay cinema. The director’s 2011 breakout hit, Weekend, became a lightning rod for some members of the queer community, with discussion of the film being a go-to icebreaker on first dates—well, at least for me. Weekend, for all of its fans, was a film that never connected with me, no matter how hard I tried. Bringing it up on dates was an effective litmus test for whether or not I might click with someone as a prospective partner. But it speaks to Haigh’s talent as a filmmaker that, although his most beloved feature could never pierce the veil for me, I’ve greatly enjoyed his other work, particularly 2015’s stunning 45 Years.

In the case of Haigh’s latest project, the sublimely emotional All of Us Strangers—which screened Thursday at the New York Film Festival—things are very different. Here, Haigh takes the queer experience and makes it universal; the specificity of gay trauma is merely a catalyst for Haigh’s characters to embark on a journey through their best and worst selves. It’s at those extremes that Haigh crafts his most accessible film yet, a tender treatise on the undying power of love and what happens when we ignore its force.

All of Us Strangers is loosely based on Taichi Yamada’s 1987 novel Strangers, yet has Haigh’s signature touches all over it. I don’t just mean the hot guys, but I am also directly referring to the hot guys. The film stars Andrew Scott and Paul Mescal as Adam and Harry, two neighbors in a recently completed London high-rise who find themselves repeatedly bumping into one another, if only because there aren’t yet many other tenants to crowd the place. One night, Adam opens his door to find a drunken Harry standing in the hallway, asking if Adam would like to have a drink… or whatever else a drink may lead to. Though intrigued, Adam turns him down in favor of burying himself in his work: a screenplay set in 1987, about his parents who died in a car crash when he was just 12 years old.

Read more at The Daily Beast.

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