Partway through of All of Us Strangers, the neighbors-turned-lovers played by Andrew Scott and Paul Mescal are draped across jostled sheets, trading intimacies. Harry (Mescal), who’s young enough to have grown up unafraid of AIDS, is out to his parents, but caught in a sort of no man’s land between acceptance and rejection. They don’t say much about Harry being gay and he mostly stays away from home.
“I’ve always felt like a stranger in my own family,” he says, more resigned than melancholy as he reflects that his parents are closer with his siblings. Adam (Scott), a generation Harry’s senior, looks at him with pain and affection. Isn’t it sad to be cast into orbit, far from the love that once seemed so certain?
The collision of traumatic loss with childhood innocence is the deeply affecting throughline of the film, directed by Andrew Haigh and based on the 1987 novel Strangers by Taichi Yamada. Early on, Adam reveals that own parents were killed in a car crash just before he turned 12. “It was a long time ago,” he says, shrugging off Harry’s condolences with a half-smile. “I don’t think that matters,” Harry responds.
Haigh’s film makes the persuasive case that it’s essential to face the pain our families have inflicted, no matter how much time has passed since the first blow. Whether we contend with the people who hurt us in reality or wrestle with the inner demons they instilled in us, trauma must be confronted, one way or the other. The ripple effects of those formative experiences extend far beyond their circumstances and often outlive the people we once expected to love us without exception. (Naveen Kumar, Them)
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