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A powerful film about intimacy, grief and gay identity, All of Us Strangers — featuring outstanding performances by Andrew Scott as Adam and Paul Mescal as Harry — can only be properly appreciated in the context in which it was produced. Three areas have tended to dominate the past three decades of queer representation in British film.

Rather than leading to a politically and aesthetically distinct trend or wave, these films relay queerness in significantly different ways. Xxvideos gays brasil the couples of Weekend Glen and Russell and 45 Years Kate and Geoff question their faith in and longing for monogamous coupledom, All of Us Strangers expands this question of intimate attachment to a new, piercingly existential level.

The film starts with Adam Andrew Scott working in his flat, located in a near-empty tower block in London. As their relationship develops, Adam is preoccupied with the memories of his past. He starts visiting his childhood home in Croydon, where he meets his dead parents Claire Foy and Jamie Bell who, as apparitions, appear to be living there just as they were on the day they died in a car crash 30 years ago.

Without grief resolved, there is no love. And without love, there is no grief resolved. The powerful ending of the film makes us wonder if everybody in the story was a ghost, or if that matters at all. We are invited to embrace not a closure but a loving opening, through the acknowledgement of our ultimate orphanhood.

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