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'All of Us Strangers' is a somewhat paradoxical title. The film begins with that premise--the lack of connection among people, but soon metamorphoses into a brilliant, beautiful, wrenching meditation on loneliness, loss, and love--the latter even beyond death, intensified by the use of 'The Power of Love,' a song by Frankie Goes to Hollywood. It is no surprise that writer-director Andrew Haigh based the film on the novel 'Strangers' by Japanese writer Taichi Yamada, recasting it as the painful realities of two lonely gay men in London who find each other. The surreal quality has a flavor and look that we see in Japanese films like 'Kwaidan' (1967)--rational, linear narrative eschewed in favor of profound human experiences that tread the line between the real and the supernatural. But there is so much more to this film, all woven into a complex emotionally shattering tapestry. While many gay men will certainly see elements of their lives represented here, this beautiful work of art will also wring tears from virtually all viewers. It must be seen, and more than once.

Perhaps the Motion Picture Academy's history of discomfort with LGBTQ themes may be responsible for its serious error of ignoring this amazing work for any nominations. The performances have been critically acknowledged as among the best and most moving, with Andrew Scott again demonstrating his incomparable artistry, the other three principal cast members shining brightly as well. Critics also universally praised the writing, direction, visual style, and scoring choices. Indeed, for many, myself included, it was the best film of 2023.

It's remarkable how much praise this film has received. The novels are complex, political, emotional, and captivating. The first Villaneuve film of 2021 was very slow and sullen but had a certain elegance at times, if one could sit through it (I had to pause every fifteen minutes). In Part Two, however, the plot has been altered in unnecessary and absurd ways, and drama, complexity, and interest have been drained, sacrificed to three hours of CGI and cardboard acting. The good cast sound like they're sight-reading their lines. Villaneuve has been quoted as saying that he doesn't like rehearsing actors. But if one expects a thematically driven story like this to emerge, I'm afraid it's the people, not the effects, that are critical. Timothee' Chalamet's monotone, rhythm-free delivery--his only style, is no help.

It's extremely ironic that David Lynch's 1984 Dune was so roundly panned (and to be fair, it is not good) while this chaotic, gray, interminable yawn-fest has received almost universal accolades; at least the Lynch film had quirkiness and character. Frank Herbert, author of the Dune novels, is reported to have liked the Lynch film. I hardly think he would have approved of this sluggish travesty.

Made in 2017, the closing explains that "In 2015, the Colombian government ordered a revision of school charter rules to include respect for sexual orientation and gender identity". The film's action predates 2015 and explains why this humane ruling was needed. "Mariposas Verdes" is important and unflinching in demonstrating what always happens when homophobic bullies and cruel, bigoted, corrupt authorities and authority figures are allowed to victimize the innocent, especially young people who happen to be different and women, both within institutions and families. In addition to horrendous acts of domestic spousal and child abuse, we see high school kids forced to endure brutal discrimination, rape, and ultimately, suicides--one at both ends of the film! A very moving, well-made, but relentlessly disturbing film, and one that should be seen, especially in the US, where bully-rule has become the norm since the 2016 election, now with a Supreme Court backing the bullies against human rights and personal freedoms. That Colombia should now be ahead of the US in this regard is disgraceful.