by Mattie Lucas
Cinema from a Decidedly Queer Perspective
All of Us Strangers | 2023
It's difficult not to get personal writing about a film like Andrew Haigh's All of Us Strangers. I didn't really write about it when I first saw it back in December of last year. I managed a half-hearted piece for my top ten write-up (where it came in at number five), but it somehow felt too close, too raw, for me to fully grapple with.
For most of its life, the Cannon Group was a minor studio known for brawny B-movies like Death Wish, Cobra, Missing in Action, and Masters of the Universe. But during the 1980s, under the direction of co-owners Menahem Golan and Yoram Globus, who bought the company in 1979, Cannon also used some of its profits to take chances on risky auteur-driven projects in an attempt to gain some prestige. One such project was Jean-Luc Godard's King Lear, a deal Golan and Globus infamously made with Godard on a napkin at the Cannes Film Festival, where the pair were tenaciously courting filmmakers.