#ALL FOR US MOVIE MOVIE#
But the fact that what we’re seeing is all happening in his head - though like any good ghost story, the movie compels you to ask, “Or is it?” - only deepens Adam’s sense of longing, as well as our sympathetic anguish at what he’s lost. With the wisdom of age and the benefit of hindsight, Adam can finally come out to them, reckon with past wounds and enlighten them about shifting attitudes about queerness over the last few decades.Īll this takes shape, at least initially, as a creative exercise, an attempt by Adam to unblock himself as a writer, a conceit that ingeniously suspends your emotional disbelief: If his reconciliations with his parents sometimes seem too easy and too awkward by turns, it’s because the screenwriter in him is still working them out.
#ALL FOR US MOVIE SERIES#
What follows is a series of visits in which Adam and his parents embark on the kinds of conversations that fate has denied them. A love story and a ghost story, it marries sly conceptual daring and fearless emotionalism with masterly assurance. A film like “All of Us Strangers,” the haunting and heartbreaking new drama from the English writer-director Andrew Haigh ( “45 Years,” “Lean on Pete”), has the power to disarm every cynical thought you might wield against it. But sometimes, the promise of movie magic is exquisitely fulfilled, and your reservations can be disarmed. You can scoff at the earnestness of that notion, and also perhaps at the mildly disingenuous pose of a festival as premiere-driven and buzz-dependent as any other. Behold the alchemy that can transform a humble town into a kind of summer camp for cinephiles, a place where old-fashioned movie magic flows in abundance.
Here every movie is just called the “Show” - a word that, as the festival’s organizers are fond of noting, means to put you in mind of a conjuring trick. There are no red carpets here in Telluride, and no official “premieres” either, at an event that likes to disdain industry language and other film-festival niceties. The festival, now celebrating its 50th anniversary, has spent years quietly positioning itself as a purer, lower-key corrective to its splashier fall rivals like Venice, which kicked off two days earlier, and Toronto, which rolls out its red carpet next week. Not that Telluride would admit to perpetuating anything so coarse as hype. And also, of course, in search of movies - new and old, anticipated and unheard of, some destined to fly under the radar and others bound to trigger an avalanche of Oscar hype. For a few days stretching into Labor Day weekend, filmmakers, decision makers, cinephiles and more than a few entertainment journalists descend on - or rather, ascend to - this small town in the Colorado Rockies, in search of cooler climes and invigorating mountain scenery. A film festival is a small world, and few worlds feel smaller, or more disarmingly intimate, than the one that comes together here in Telluride every fall.
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