Tira-mi-sù – Tira-mi-giù

In the article, I play with sensory elements to reveal the specifics of the transition between parallel worlds, between reality and fantasy, which enables a walk through the extraordinary technical aspects of All of Us Strangers (2023), beginning at the basic level with the return to the use of analogue camera aesthetics. Through memory, returning to the past, which appears as a constant narrative throughout the film, revives pain and triggers a chain process of processing grief and dealing with loss, it releases, as it were, the entire spectrum of unspoken emotions and leads to the final cathartic liberation. By highlighting the contrasts and precisely defining the audience’s response to what they have seen in different but equally important scenes, I want to enable the reader’s understanding of the director’s work dynamics and the adoption of individual screenplay decisions.

The integral version of this article can be found in the printed KINO!