This is a beautiful love letter not only to The National Theatre and Shakespeare’s Hamlet, but to the men, young and old, who died from AIDS related complications during this period. Elsinore removes any shame that these men bore; instead, depicting a glorious portrayal of men who loved and were loved, who had hopes and dreams, and who were bursting with life and passion. And, as with Hamlet, Beresford and director Simon Stone capture the essence of a man staring down the barrel of death. Ironically, Charleson’s doctor tells him that if he is to play this part, there is to be no more talk of death. Charleson fires back: ‘That might be quite tricky. It’s one of the central themes of the play.’ There’s a warm humour that accompanies Charleson in acknowledging his fate, delivered so delicately by Scott.

Elsinore shines a light on Dr Margaret Johnson, played by Olivia Colman, who was the first doctor in the Royal Free Hospital to specialise in AIDS at a time when 1 in 10 patients were dying from the condition. She is magnificent in this role, tastefully conveying the challenge of balancing the duties of a doctor with that of a human being. She is tender, steadfast and practical in her care of Charleson, and, despite Scott being just 3 years Colman’s junior, she brings a maternal force to her character’s dynamic with Charleson.

This film is a masterpiece that provides Scott the opportunity to play the role of a lifetime, with his character following that same break. He gives an astonishing performance that is at once heartbreaking, tender, impressive, delicate, funny, and joyful. The depth that Scott brought to his character in All of Us Strangers feels as if it were preparation for this career-defining performance. Much the same as Charleson’s first performance of Hamlet at the Cambridge Theatre in 1974, before his National Theatre run. Life, imitating art.