The way We Strangers begins lays the groundwork for how the drama will be exploring its powerful themes. The directorial debut of Anu Valia, the movie begins partway through the story, with cleaner Rayelle (Kirby Howelle-Baptiste) crossing paths with Jean (Maria Dizzia), the somewhat eccentric neighbor of her latest client. Although their initial interaction is short, it establishes a connection between the pair that will define how the film plays out.

Cutting backwards in time, it’s revealed Rayelle has been hired by Neeraj Patel (Hari Dhillon), a doctor in Gary, Indiana who wants her to clean both his house and Jean’s. While at her home, Ray learns more about Jean, specifically her infatuation with the spiritual plane. Upon learning this, she decides to pretend she can commune with the ᴅᴇᴀᴅ. It’s a lie that very quickly unspools into a cleaning job unlike any she’s ever had.

But beyond this comedy-drama movie having a captivating surface-level story, it also doesn’t shy away from bringing its core themes to the forefront. We Strangers is a commentary on class dynamics and privilege, with potent symbolism drawn from real experiences that bolsters the divide between those well-off, and those who must struggle to survive.

We Strangers’ Main Character Is Sympathetic & Easy To Root For

What makes We Strangers so easy to watch is just how likable its protagonist is. While Ray finds herself navigating a world of privilege thanks to her lie, she’s also shown taking care of her kids and other members of her family. A close relationship with her mother is the strongest of the film, with their positive relationship a constant treat onscreen.

Scenes with her family emphasize how comfortable and true to herself she can be when she’s not at work. But all that changes when she’s at her cleaning jobs: she grows quiet and constrained, trying to balance her work with both her lies and the obvious ire she has from being stuck doing such labor. It doesn’t help that people like Neeraj and Jean’s friendliness doesn’t always equate to helpfulness.

This is further emphasized by how We Strangers explores the dynamics between Neeraj and Jean’s families through Ray’s perspective. While each character has an important role to play, Sarah Goldberg, best known for her role as Sally on the cast of Barry, was a standout as Neeraj’s wife, Tracy. The way her and Howell-Baptiste were displayed as foils to each other make their scenes together some of the film’s best.

But Ray’s interactions with everyone outside her family are an expertly-crafted display of how class dynamics separate her from the people she’s working for. Only by appealing to their beliefs and ideals can she make any headway beyond being just a cleaner they hired. It makes for moments that are both funny and tense as she tries to balance how she’s presenting herself with the expectations others have about her so-called “powers.”

But therein lies the key factor of power dynamics the movie explores. The wider the web of Ray’s lies, the more power she gains in some aspects of the lives of her clients. Yet there’s also still an underlying, consistent reminder that they don’t see her as an equal, nor as someone more powerful than they are. It makes Ray more sympathetic as she finds herself equal parts in servitude and of superiority.

The Visual Symbolism Of We Strangers Further Bolsters Its Layered Themes

What really makes We Strangers stand out, though, is the layered interweaving of genius symbolism and cinematography that furthers both its story and themes. There’s a recurring visualization of a natural object that occurs throughout the film, somewhat splitting the movie into different sections each time it shows up. It’s a powerful showcase of Ray’s evolution as her lie changes her just as much as it alters her relationship with her clients.

In addition, the movie makes fantastic use of its camerawork, with stunning cinematography by Charlotte Hornsby and editing by James Codoyannis coming together in a masterful display. There’s a surrealist quality to the presentation that elevates Ray’s story, emphasized by cutaways and cut-betweens in various scenes. It adds a dreamlike aspect to some parts of the film, a creative styling that makes it stand out from similarly-themed movies about class disparities.

But what really makes We Strangers so powerful is its real-world influence. Director Anu Valia’s childhood was a point of inspiration for the movie, something that shows in many of the authentic interactions between characters. There are a number of conversations and events whose realism made me wonder where the director’s experiences ended and the fictional elements of the story began.

This clear inspiration from real-world events is the cherry on top of what makes We Strangers such a powerful commentary on class and privilege. Wrapped together by an entertaining story and a compelling lead, the movie is smart, interesting, and honest about its core subjects. Its phenomenal presentation makes this an incredible debut from Valia, and a carefully symbolic look into important divides within modern society.

We Strangers is now available on VOD.