One night, screenwriter Adam, in his near-empty tower block in contemporary London, has a chance encounter with his mysterious neighbor Harry that punctures the rhythm of his everyday life. As Adam and Harry get closer, Adam is pulled back to his childhood home where he discovers that his long-dead parents are both living and look the same age as the day they died over 30 years ago.
Cambridge Film Festival 2023: Film #25
Less a portrait of one particular Londoner's grief and subsequent regression to childhood than an oblique and often challenging commentary on alienation in contemporary Britian and how it encourages, if not indulges, an instinctive nostalgia towards a misremembered past.
In typical Haigh fashion, these casual chats between loved ones are soulful. They’re also disappointingly simple. The film offers something of a “greatest hits” album of the coming-out canon, from the initial state of shock to the tentative acceptance to the earnestly vocalized regret over a lack of support. No amount of mysticism can make these touchstones feel new again. […] Whether it’s the fade-heavy editing style of Jonathan Alberts or the ethereal colours of Jamie D. Ramsay’s cinematography, All of Us Strangers always feels perched on the precipice of unlocking a deeper register. Yet Haigh remains content to linger in a purely therapeutic mode, offering counsel and comfort to Adam—and hopefully the audience by extension of their spectatorship.
— Marshall Shaffer (Slant)