Haigh tells this potentially maudlin story with such a light touch that even its biggest reveals hit like a velvet hammer, and his screenplay so movingly echoes Adam’s yearning to be known — across time and space — that the film always feels rooted in his emotional present, even as it pings back and forth between dimensions.

And so Haigh, in rather overt terms, slowly begins to recontextualize Adam’s sexuality as more of a conduit for his despondency than a root cause, leveraging a personal story about the consequences of keeping pain out into a primordial one about the catharsis of letting it in

“All of Us Strangers” does too, and it never shies away from how hard it can be to start again, especially once Harry begins to struggle with his own advice