Always Good Movies

Direction: Andrew Haigh
Country: UK

In Andrew Haigh’s latest psychological and supernatural drama, All of Us Strangers, we follow the journey of Adam (Andre Scott), a homosexual screenwriter in his forties who gets in touch with his feelings after starting a relationship with a mysterious neighbor, Harry (Paul Mescal). As their connection deepens, Adam inexplicably finds himself connecting with their late parents (Jamie Bell and Claire Foy), who tragically passed away in a car accident when he was 12. Partially filmed in the house where Haigh grew up on the outskirts of Croydon, the film, based on Taichi Yamada’s 1987 novel Strangers, carries a personal touch that adds depth to the narrative. The inclusion of a 1980s soundtrack further enhances the nostalgic atmosphere.

This beautifully understated and unique film transitions from the mundane to the otherworldly with feverish quietness, offering a poignant exploration of solitude, trauma, grief, love, and the vagaries of time. It’s a well-constructed and nuanced drama that drips with bold visual aplomb and a subtle mysticism akin to disorienting, dreamlike states.

Haigh confirms the immense filmmaking capabilities and storytelling expertise previously showcased in films such as Weekend (2011) and 45 Years (2015). All of Us Strangers lingers in the mind long after the credits roll. It haunts you, and you’ll admire its conception while searching for answers. While the film may not provide easy resolutions, its ambivalent nature and mysterious allure make for a captivating viewing experience. Indeed, it stands as something special in contemporary cinema.

Directed by Andrew Haigh
Country: UK / USA

With a still short directorial career, Andrew Haigh has presented us thought-provoking dramas filled with honesty, emotion, and intimacy. Titles such as “Weekend” (2011) and “45 Years” (2015) are referenced as gems of the contemporary British cinema.

With “Lean On Pete”, the director shifts style, totally embracing American colors and practices without losing dramatic effectiveness. It’s true that this heartfelt story centered on Charley (Charlie Plummer), a 15-year-old boy who suddenly becomes orphan and homeless, is not as striking as the cited titles, but still presents enough emotional heft to keep you alert in a long journey of searching, subsistence, and settlement.

Charlie, a motherless teenager, loves very much his father, Ray (Travis Fimmel), even if he has to spend several days on his own, with very little money in his pocket and no food in his stomach. They live happily together in Portland, Oregon, but the financial situation is precarious, which compels Charley to find a job. He is given an opportunity in a horse stable, whose owner, Del (Steve Buscemi), always pays him at the end of the day. However, whereas Charley gets emotionally attached to an old horse called Lean On Pete, Del only sees it as a business. Bonnie (Chloë Sevigny), the experienced jockey who rides it, advises him: “He’s not a pet. He’s just a horse.” However, Charley can’t cope with the idea of putting the horse down just because he doesn’t win races anymore unless drugged.

One day, Ray brings a new ‘girlfriend’ home. A few days later he is brutally attacked by her husband and then taken to the hospital in a serious condition. Sadly, Charley becomes orphan, facing the possibility of going to a foster home if he doesn’t find Margy Thompson (Alison Elliott), his father’s former girlfriend, who once wanted to take him with her. Yet, he’s not willing to lose that horse without a fight either. So, he steals the horse and Del’s van and sets off on a trip where he is forced to rely on strangers to survive. Not everything goes as expected as some of the encounters turn into negative experiences.

The young Plummer acts with confidence and the character he impersonates, despite all the adversities, becomes a symbol of courage and tenacity.
Eschewing sentimental allure, “Lean On Pete” was based on the novel of the same name by Willy Vlautin. It’s a life lesson that stands above most of the coming-of-age dramas.