From the moment we first encountered All Of Us Strangers back in January, we knew Andrew Haigh's film, a poignant queer romance centered around Andrew Scott's isolated writer Adam and his connection with Paul Mescal's melancholy drifter Harry, was something extraordinary. Is it a ghost story? A feverish dream? A tangible creation born from a grieving man's subconscious? We still don't fully understand, but we felt every poignant moment of its captivating melancholy and smoldering sensuality. So much so that when we compiled Empire's 'Best Movies Of 2024 (So Far)' list in June, Haigh's film comfortably secured the top spot. Now, a full year since its U.S. release, All Of Us Strangers has only deepened its hold on our hearts, soaring to the pinnacle of our Best Movies Of 2024 list.
"This is incredibly cool," says Haigh when Empire informs him that his latest film has been voted our film of the year. "I've been reading Empire literally since it first came out." For the Harrogate-born filmmaker, whose previous works include Looking, 45 Years, Lean On Pete, and Weekend, the continued recognition of his sixth feature offers a moment for reflection. "The idea that I could ever be involved in film, let alone be a director, was so far beyond my imagination, so it's very cool to be here now. I appreciate it," Haigh says. "When I made the film, I wasn't sure if it would find an audience. So it's been the greatest joy that it has found that audience and continues to do so. The fact that people still talk about it a year later is really meaningful. It really seems to resonate. You can't ask for more than that. It's pretty exciting that it's number one after all this time."
One of the aspects that truly sets All Of Us Strangers apart in another exceptional year for cinema is how intensely personal its story of love, loss, and profound longing is. Even now, Haigh grapples with how much of himself he poured into this film. "I'm not particularly extroverted, and the fact that there's now this personal story about me out there, I've found that a bit challenging," Haigh admits. "It's taken me some time to come to terms with that. Even the fact that I shot it in my [old] house."
But if putting his heart on the line for his art was a significant and, at times, difficult step for Haigh, it was also one that ultimately felt worthwhile. "The desire of most filmmakers is to express something about how they see and understand the world and allow that to resonate with others," the director explains. "So it's really quite powerful when you share your personal philosophy of life, based on some element of personal experience, and have it speak to others. I can't tell you how many people have shared their own stories with me, whether it's about losing a parent, growing up gay, or just feeling alone in the world. That feels special."
Reflecting on the overwhelming emotional response All Of Us Strangers has received almost a year after its release, Haigh is as philosophical, poetic, and honest as his work. "If a piece of art can make you feel less alone, even if it's deeply sad and melancholy, and allows you to think, 'Oh my God, I'm not the only one who suffers in the world' — that's a very powerful thing," he shares. "Because we often don't express how we feel, even to those closest to us. Art can tap into that shared loneliness we all experience. It's also quite unusual: I've been in places where someone starts talking about the film and starts crying. That's quite a powerful experience. Sometimes you don't know what to do. You're like, 'Okay...' Pat them on the shoulder. 'I'm sorry for you...' I literally couldn't have asked for more for this film. It's more than I ever dreamed."
That's the power of love, folks. And the power of All Of Us Strangers, Empire's film of the year. *Dissolves into the cosmos as Frankie Goes To Hollywood plays us out*
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