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Grief is a funny animal; it tangles itself in our organs and sinews, permanently altering how we love, how we see ourselves, and how we make sense of our identity. That's what Haigh is unraveling here, with a bittersweet emphasis on the power of love and its ability to transcend even death itself.

In a lot of ways, All Of Us Strangers is a poignant, deeply melancholic exercise on the attempt to bridge the past with the present, a cosmic inquiry into resolving all that was unsaid through second chances that never were.

The entire journey is not based in logic so much as a kind of emotional intuition, and as such, no two viewers will experience it the same way. What strikes some as manipulative will crack open others, as the film offers a kind of connection that's all too rare, and maybe even impossible.

While it unfolds in a hazy dream state rooted in Adam's loneliness and the emotional suspension that has blocked him from moving forward, it's by no means a downer. It's a thing of beauty, heartfelt and unforgettable.

Baigné d'une enveloppante atmosphère onirique et porté par une distribution impeccable, All of Us Strangers s'avère une audacieuse illustration des manifestations du deuil.

Récit parfois abstrait gouverné par l'émotion. Climat ésotérique. Style parfois affecté. Distribution impeccable.