All of Us Strangers
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Synopsis
A metaphysical exploration of queer love and loneliness, familial grief and healing, this delicate but audacious chamber drama confirms director Andrew Haigh’s gift for bringing complicated emotions to the screen. Isolated in a seemingly empty new high-rise, London screenwriter Adam (Andrew Scott) finds his solitary existence upended when he begins a passionate romance with the impulsive Harry (Paul Mescal), then reconnects with his parents (Jamie Bell and Claire Foy) in a reunion that pushes beyond the limits of time and space. Putting a deeply personal imprint on a novel by Japanese writer Taichi Yamada, Haigh reaches cosmic heights while never losing sight of the story’s achingly human heart.
Picture 10/10
The Criterion Collection presents Andrew Haigh’s All of Us Strangers in 4K on a triple-layer disc, featuring its original aspect ratio of 2.39:1 with Dolby Vision and a 2160p/24hz ultra high-definition encode. The release also includes a standard dual-layer Blu-ray with a 1080p presentation of the film and all special features. The 4K master used for both presentations was supplied by Fox/Disney.
Going in, I didn’t have particularly high expectations—it’s a new film, so it should look good—but I was pleasantly surprised by just how great All of Us Strangers looks in 4K. I was even more surprised to learn it was shot on 35mm film, not in 4K digital (though I assume it was finished through a digital workflow). This choice results in a beautiful filmic texture with a very fine grain structure that the 4K encode renders cleanly with any issues with noise or macroblocking ever being evident. Fine details are razor-sharp throughout, giving the presentation a striking level of clarity.
The dynamic range is expansive, thanks to HDR, which adds depth to both highlights and shadows. Black levels look decent overall, though there are moments where they appear a bit murky or lean toward blue. This seems intentional, based on comments from the film’s director of photography, Jamie D. Ramsay, in one of the included interviews. The lighting choices help create an ethereal, almost otherworldly atmosphere, and this is perfectly captured in the presentation. Outside of those occasional flat blacks, the image is incredibly rich and vivid, with the broader dynamic range delivering an extraordinary level of depth in both shadows and brighter sequences, bringing the visuals to life. It’s simply stunning, and I think this is one of those films that really demonstrates the benefits of HDR and Dolby Vision.
Colors are rich and vivid, with a broad range of hues from deep blues to warm oranges and reds. This is especially evident during the club sequence, where bright blue, violet, and red lights mix seamlessly. The highlights hold up well, preserving fine detail without blowing out or losing clarity.
Overall, this presentation is exceptional. It's gorgeous, represents the film so perfectly and I’m thrilled it received such a terrific treatment.
Audio 9/10
That ethereal atmosphere carries over into the film’s 5.1 surround soundtrack, delivered in DTS-HD MA. The dreamy score is mixed effectively through the speakers, subtly enhancing the film’s mood without drawing too much attention to itself. Dialogue stays anchored in the front channels, but it’s sharp, crisp, and natural, with smooth transitions between speakers. The surrounds also pick up ambient effects, such as the building alarm early on. There are a few moments that make more aggressive use of the soundfield, like the clubbing montage, which adds a nice punch of bass, and another sequence where the main character may (or may not) be experiencing a nightmare. The mix is immersive and places the viewer squarely in the middle of the action. It sounds great!
Extras 7/10
When it comes to the amount of them, the supplements (all found on the standard Blu-ray disc, not the 4K) prove a bit underwhelming, though they're certainly better than what Fox or Disney might have assembled, as demonstrated by the UK Blu-ray release, which includes fluffy studio-produced featurettes. Two of those—Roots of the Story and Building Adam’s World—are also included here, each running around 6 minutes. Roots of the Story briefly explores the adaptation of the source novel Strangers, with an added portion on finding the right '80s vibe without going overboard. Building Adam’s World offers a more interesting look at the film's effects, particularly how the world outside the main character's perspective was created.
These featurettes are expanded upon in a longer, 22-minute television documentary, which features more interviews with Haigh, the film's stars (Andrew Scott, Paul Mescal, Jamie Bell, and Claire Foy), and members of the cast and crew, including composer Emile Levienaise-Farrouch, editor Jonathan Alberts, producer Sarah Harvey and others. They discuss the challenges of adapting the novel and finding the right tone, among other aspects. While all three pieces feel like standard studio puff pieces, they're a bit better than most.
Thankfully, Criterion didn’t stop there and recorded a couple of new interviews, both of which are especially rewarding. First is a 26-minute conversation between Andrew Haigh and Michael Koresky, in which Haigh delves deeper into what attracted him to the story (if not initially) and how he approached the adaptation. While some of this is touched upon in the featurettes, this is a far more in-depth discussion. Haigh speaks about adapting the story from a "queer perspective" and focusing on the emotional heart of it, ensuring the supernatural elements didn't overshadow the core narrative. The two cover a lot of ground, discussing performances, the film's atmosphere, and even relating the story to their own experiences. My favorite part, though, is when Haigh explains the bold choice for the film’s final shot, which even he admits he wasn't sure on.
It's a thorough discussion for its relatively short runtime, but even better is the 24-minute interview with director of photography Jamie D. Ramsay. I won’t spoil too much, but the film effectively blends several genre elements that probably shouldn’t work together, yet they do—and a lot of that success comes down to how the film looks. Ramsay goes into exhaustive detail about the planning behind the film’s overall visual style and lighting, explaining the thought process behind key choices. He also discusses how they aimed for a timeless look, so the film’s setting wouldn’t be tied to a specific era, which helped make the transitions between different places feel more seamless than they otherwise might. It’s a fantastic interview and easily the strongest addition to this release.
The disc closes with the film’s trailer and an insert featuring a wonderful appreciation of the film by critic Guy Lodge.
While the supplements feel a little slim overall, the two new features provide excellent insights into the film's look and feel, making them solid additions to the release.
Closing
Though I do wish there was a bit more in terms of supplemental material, just having All of Us Strangers available on home video—especially in 4K—is wonderful enough. Add to that the outstanding A/V presentation, and it's hard to ask for more.
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