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This movie deftly takes the viewer on a journey to loss and addiction and back again in two intertwined stories - past and present that slip along next to each other, each revealing themselves, piece by piece. Saoirse Ronan's performance embraces both stories with utter conviction. She ably backed up by a small but brilliant cast. At times, you could believe you were watching a 'fly on the wall' documentary, the characters were so unassumingly true to life in their portrayal of the London and Orkney roles. The parents were particularly well played.

Finally, the backdrop. Orkney in winter contributed so much drama and atmosphere.

Recommended.

It's not often that I leave a cinema feeling inspired by a film. The Outrun is one such movie. I have always been an advocate of the healing power of the natural world and watching this beautiful, but sometimes harrowing film, reinforced my philosophy. Sometimes the best stories are the simple ones and this is one of them. Saoirse Ronan produces and stars as the main character Rona who was bought up on the Orkney Isles, but hankers for the bright lights of London like so many other young people from isolated communities often do. The film does well to portray the pitfalls of living in a big city, but also deserves credit for showing the Orkney Isles as a clearly beautiful, but sometimes desolate place. In the same week I have also been to see two big budget films, but the Outrun was by far the best of the three albeit on a fraction of the budget. If you want to see a film that will make you feel more positive about life then I recommend you see this movie. I am glad that I did.

Saoirse Ronan could easily have a second career narrating nature documentaries.

Never underestimate how difficult it is to play various stages of drunk, addiction and sobriety and Ronan nails it. Movies with a distinct cinematic style are becoming increasingly rare so I'm so grateful for what Nora Fonscheidt achieved with her visual storytelling The colours and textures were just stunning especially around perspective and memory.

Obviously it's the Saoirse show but the supporting cast is pitch perfect, especially Stephen Dillane and Saskia Reeves as her parents. Paapa Essideu is such a subtle screen presence but the camera just loves him.

If you are fan of the very adaptable Saoirse Ronan then you'll probably love this - she throws just about everything into the role of "Rona". She has returned to her mother's home in Orkney to recover from a fairly torrid time of booze and drugs in London. The timelines are threaded together to drip feed us the causes of her current predicament whilst looking at her own efforts to get - and stay - clean. Of course, there are domestic issues at home too with her father suffering from bi-polar disorder and her mother having turned to religion which add to the turbulence of her life. In the end, she takes a job working on a remote island for the RSPB trying to find an example of the once plentiful but now rare corn crake. With the weather closing in on her small cottage and her determined to get well again despite the familial pressures, the woman has her work cut out for her. Can she stay the course or is a relapse inevitable? It is a strong effort from Ronan here, and Andrew Dillane also delivers quite effectively as her dad - especially once the film has got up an head of steam and the characters more fully develop. The photography of this sometimes beautiful and other times bleak environment adds really well to the overarching sense of the claustrophobic as the story plays out. Her self-imposed isolation flying in the face of her naturally more gregarious personality. It doesn't try to reinvent the wheel when it comes to the treatment techniques and struggles involved here, but it does provide us with a powerfully character-led drama that must have cost a fortune in hair dye and doesn't offer any rose-tinted solutions.

The Outrun is a deeply moving British psychological drama directed by Nora Fingscheidt in 2024. Set against the hauntingly beautiful backdrop of an isolated island, the film tells the story of a young woman struggling to navigate the tumultuous path between the pull of alcohol addiction and her desperate yearning for recovery.

The movie's visual storytelling is mesmerizing, capturing the raw beauty of the island as a metaphor for the protagonist's internal battle. The juxtaposition of breathtaking landscapes with moments of profound despair adds a layer of emotional depth to the narrative.

What sets The Outrun apart is its ability to portray addiction not just as a personal struggle but as a complex, multifaceted experience shaped by environment, relationships, and inner conflict. The protagonist's journey is neither romanticized nor simplified; it's real, painful, and ultimately, hopeful.

Fingscheidt's direction ensures that every scene resonates emotionally, making it more than just a film-it's an experience. For anyone drawn to stories of resilience, self-discovery, and redemption, The Outrun is a must-see. It leaves you reflecting long after the credits roll.

The Outrun is based on a book by Amy Liptrot and is a first hand account of her experiences with alcoholism.

This film adaptation is produced by and starring Saoirse Ronan, with Nora Fingscheidt of System Crashers fame in the directors chair.

What I took the film to ultimately be about is being lost in your 20's, making mistakes and then rediscovering yourself. The lead character Rona is in her late 20's and originally is from The Orkney's a small set of islands north of Scotland. She's studying/was studying Biology at university in London. It's at university where it becomes apparent that she has a problem with alcohol.

I find human psychology fascinating but I know for a fact that if I was to make a film about addiction it would be no doubt soaked in melodrama. This film feels real and whilst it has emotional scenes it never goes over that line into trying to force an emotional response out of its audience.

It instead chooses to base itself in spirituality and at the start it seemed like it was going to be more of a poem with images rather than a narrative as such.

It does however settle into being more narratively driven but we do get some flashbacks that at times I felt were a bit choppy. At times I was unsure what was happening in the past and what was happening in the present. Perhaps this was intentional to try and make you feel Rona's inner struggle but it didn't always work for me.

That is however a minor gripe as I was furthermore impressed by the films ending. It managed to both provide a satisfactory 'happy' ending, whilst also leaving you with the feeling that Rona's journey with alcohol isn't complete and perhaps never will be.

Who says you can't go home?

I don't know what to make of this film. It feels simultaneously kind of moving and dull. Maybe I had high expectations that were too high. Before watching the film, I'd read several reviews about how amazing, raw, and transcendent this film was. So, while watching, I kept waiting for something big or truly searing to happen, but that never came. So when the film ended, I thought to myself, "Is that really it?" This could've been so much more disturbing and visceral than it was. There is so much unwarranted hype around this film. It's meandering, unengaging, and uninvolving. The film could've been darker and more cumbersome, thus packing more of a wallop.

Don't get me wrong here. It does have some strengths. While watching, I was enamored with Saoirse Ronan's acting. She truly shines here in a powerhouse performance that's equal parts explosive and subtle. But great acting and cinematography don't make a great movie if the writing is tenuous and unengaging much of the time, as is the case here. At times the film is intoxicating and sobering. And at times it's jejune and tedious. There is no real plot here. Much like the lead character, the film itself is quite aimless. We pretty much just follow a young woman dealing with alcoholism and how that affects people, and that's pretty much it; not much really happens.

I know the film is based on a memoir, and in that format, the travelogue moments work. But on film, it's very jarring to jump from scenes of seeing a young woman in the throes of alcoholism to pictorials of Orkney animals and landscapes. This happens multiple times throughout the film. It just felt really strange and unnecessary. The same thing happens with the random moments of Rona narrating about the island's mythological history feels odd and arbitrary. The narration in general doesn't add much to the film.

The editing really sullies the film. The pacing is mediocre, with some parts of the film interesting and moving, and some parts of the film really slow and boring. There are random jump cuts and things are told out-of-sequence to the point that it's confusing. The change in Rona's hair color is apparently used as a device for the audience to understand where in time she is, but it doesn't help much. The film is supposed to be grounded, poignant, and touching, and it does sometimes feel that way, but much of the time isn't really. It feels kind of cold. The few surreal and lighter scenes of Rona conducting the sea and the weather, of her swimming amongst the seals, of her in a rave that only turns out to be a memory, and of her acting like she's riding a ship when in reality she was in a building overseeing the sea, were interesting and fun.

The film is worth checking out, albeit I'm sure some will find it dull. The acting is great. I mentioned Ronan, who will likely deservedly receive an Oscar nomination for her performance in this, but Stephen Dillane and Paapa Essiedu are also standouts. The cinematography and the film's use of lighting, punctuated by the landscapes and the contrast of the urban London versus the bucolic Orkney, is beautiful.

A beautiful film with some fantastic acting, particularly from Ronan. At times, I was a little lost in what was going on to begin with, but that resolved itself for me as the film went on; I believe that that was a deliberate reflection of the confusion and displacement felt by Rona, the main character. Others may not agree with my 9 rating, but I have read and enjoyed the book 3 times now and I think that doing so helped me enjoy the film. I feel that this is a fine distillation of the human story in the book into a near 2hr movie. The focus is on the battle with alcoholism being fought by Rona and because of that, the much more extensive portayal of Orkney and its natural environment in the book was necessarily significantly reduced. A beautiful film that requires concentration.

It was raw and relatable at the beginning but gets repetitive, maybe that's the struggle about getting sober. I'm not using any substance but dopamine is a real addiction too, all those short videos, mobile games, fragmented information, sometimes I feel like I can't be happy without them either. Nature has amazing healing power and I need to go outside and touch more grass. The dad is the real problem here, he is a unfortunate mental illness sufferer, but our protagonist have to stay away from the bad influence to take care of herself first. Two things I don't quite understand: why the timeline has to be so intertwined and audience have to look at her hair and nail color to know when anything happened; and I get it that she could be bipolar too, but the conducting natural phenomena thing is just weird, and isn't it a bit narcissistic too?

The sea is so beautiful and the seals are so cute.

This has to be one of the most captivating films I have watched in a long time. It can be so tricky to create the correct balance and atmosphere when tackling something as complex as addiction but this film gets it right. I have also been a huge fan of Saoirse Ronan and believe she gives one of her most impactful and thought provoking performances. Growing up being constantly aware of the dangers of alcohol and having people in my life abuse it has made me cautious around it in my own life. This film captures the effects of addiction not only on the person but also the people that love them. It touches on the struggles of mental health issues with such compassion and understanding. Overall, I film that grabs your attention and gets you to sit and actually think. I have been putting off watching it for a while, but it is well worth the watch.

We caught "The Outrun" at MIFF, and while the film boasts a haunting atmosphere and a standout performance from Saoirse Ronan, it ultimately left me underwhelmed. The Orkney Islands provide a stunning backdrop that mirrors Rona's internal struggles, and Ronan skillfully brings depth to her character. The film's mood is immersive, drawing you into the isolation and emotional turmoil that define Rona's journey.

However, the story itself felt long and drawn out, which made the experience more tedious than engaging. Themes of addiction, recovery, and confronting one's past have been explored many times in cinema, often with more impact and nuance. Unfortunately, "The Outrun" doesn't add much new to this familiar territory, making it feel like a missed opportunity despite its strong atmosphere and performances.

Greetings again from the darkness. The best movies revolving around alcoholism usually make us feel like we are intruding on someone's personal train wreck. Three that come to mind, each resulting in at least one Oscar, are LEAVING LAS VEGAS (1995), DAYS OF WINE AND ROSES (1962), and THE LOST WEEKEND (1945). This one is based on the 2016 memoir by Amy Liptrot, who also adapted the book for the screen with director Nora Fingscheidt (known for her festival favorite SYSTEM CRASHER, 2019).

Having already been nominated for four Oscars, there is little debate that Saoirse Ronan is one of the top actors of her generation. And this may be her best performance yet. As Rona, she captures the quiet desperation and loneliness that isn't always so quiet. We see Rona as the unemployed, Masters-degreed, sloppy drunk party girl. We see her as the drunken victim of sexual violence. We see her as the next-day apologetic drunk who destroys a relationship. We see her in rehab and attending AA meetings. We see her relapse. We see her strained parental relations, and we see her in near isolation in hopes of kicking an addiction that she's not even sure she wants to kick. It's heartbreaking when she admits, "I can't be happy sober." We feel for those who have experienced this with loved ones.

Living in London, Rona is all about the excitement and energy of dancing and partying and socializing ... and drinking. She says she likes how it makes her feel, ignoring the next day misery and regret. Her boyfriend, Daynin (Paapa Esiedu) is supportive and understanding, right up until the point where he's had too much of her self-destructive ways. Rona finally accepts rehab and after 90 days, she heads home to Orkney - a sparsely populated archipelago off the north coast of Scotland. Rona's parents are divorced. Her mom (Saskia Reeves) has turned to religion, while her bipolar dad (Stephen Dilane) lives in a caravan and works his sheep farm on his good days. The desolate environment lacks the constant temptations of London (though she still finds a few), and Rona hopes time in Orkney will be restorative to her health and spirit.

Filmmaker Fingscheidt makes some interesting choices. The film jumps around in time with Rona's flashbacks to moments in her past - some going back to childhood. This jumping around reflects the mental struggles she goes through in her quest for sobriety. There is also a substantial amount of science and nature included. In voiceover, Rona details the specifics of addictive drinking, as well as the mythology of seals and selkies. Saoirse Ronan is superb throughout, yet two scenes stood out for me. The first is when she meets a stranger on the street, displaying her desperation for companionship and socialization. The second comes when she explains to her mother how seaweed is her new passion (her new addiction?) and is her focus for the future.

The only thing close to being as photogenic as Saoirse Ronan is the coastal Scottish landscape. It's both breathtaking for us and claustrophobic at times for Rona as she fights the urges. Rona's job with RSPB had me doing a quick Google search for endangered Corncrakes, and though most of the film left me emotionally drained, watching Rona 'conduct the ocean' provided a welcome jolt of joy.

Opens in theaters on October 4, 2024.

A movie certainly worth seeing if only for the very poignant moments so deftly and evocatively delivered by Saoirse Ronan. But the narrative does not seem to be well thought out and the story is not told in sequence AND there's nothing wrong with that . The scenes still need to make sense and the movie goer should have a good idea of what is going on. Some of them(scenes) feel like they were just thrown in and still the movie had a very good hold on me. Much of the dialogue is well written , touching, humorous, sarcastic , cynical ,pretty much the whole range what humans can feel in the face of addiction and the strains put on their relationships. The characters of Ronan and Daynin are well written and acted extremely well but the rest of the movie does not measure up to what these two actors deliver.

It's a personal drama about battling alcoholism based in current times in London, England and, the Orkney Islands north of Scotland. Rona (Saoirse Ronan) is a graduate student with an M. A. in biology who has lived in London for ten years. She grew up on the Orkney Islands on a sheep farm with her mother, Annie (Saskia Reeves), and father, Andrew (Stephen Dillane). Andrew has severe bipolar disorder, which devastated the family and caused Rona's parents to separate. Annie became very religious; Andrew now lives alone in a trailer on the farm.

We learn early in "The Outrun" that Rona is an alcoholic, leading to strained relations with her live-in boyfriend, Daynin (Paapa Essiedu). Eventually, Rona crashes and retreats to the Orkney Islands. Much of the film deals with her experiences there--with her family and with herself-- interspersed with many flashbacks to the haze of her London days.

"The Outrun" minces no words about the consequences of alcoholism and the personal struggles to combat it. The cinematography on the Islands is spectacular. Saoirse Ronan is fantastic in the breadth she brings to the Rona character. The potential of Nature to help heal is creatively done. The big problem with "The Outrun" is the deliberately confusing jumble of timelines and quick cuts that seriously detract and do not enhance. This directorial and editing problem frankly makes "The Outrun" seem to drag.

I didn't go into this film expecting to feel the way I did when I left, it felt and explained exactly how battling alcoholism feels. It's not linear and it doesn't feel like start to end. It's a journey over many different paths of wrong and rights that ultimately bring you to the same place which is "yes I'm battling this and I will continue to do so, what has come before has led to this and what challenges will come will add to this" but whatever Saoirse Ronan tapped into here explained it better than I've ever seen done before. She went for it hard and I can't truly say it not only resonated but explained in a way I hadn't had done before but one that has stayed with me since. This film is gorgeous and poetic and something that movies rarely are, true and real. Saoirse deserve all the praise and awards for this one as well as the whole team behind it. If you have ever been effected by the beast that is alcoholism then you need to see this. It changed my life.

The director probably thinks what makes an award winning artsy movie is telling a random story as slow as possible. Well, I'm not blaming her since she actually had to work with a plot that could be covered in a music video. So what you get is a lot of landscapes and close up shots, which were captured beautifully. Other than that, you're basically expected to feel very sorry for a girl who allegedly had a dramatic childhood (which was not quite the case actually, since probably most of us had worse parents) and managed to become the most miserable alcoholic one can be in her 20s just by partying in London with university friends.

The film does something that not a lot of films do; it isolates and creates a metaphor in the scenery. The personalities of the actors / actresses are flawless; i.e. Gaining character and momentum as the film moved in turn. Conceptually; It runs deep. You know or don't...the plot was in reverse as soon as it was set in motion. Rona was chasing. She was chasing a life that was hers. The lining of gray rain and clear raindrops only saddened the scene; cars and planes included. It was the largest blessing for the protagonist. Bleak, desolate visions and thoughts of " bird calls. " Excitement was there. Recalling the vivid techno moments, she embraced. She learned to cope and not cope with withdrawals, seemingly and with volition. The acting and portrayals was spot on. Every turn had a sequence. Regardless, the film is pinnacle at finding isolation and making the best; mockery and joke or serious and real.

Feels like she's still living the lady Bird character on this one, more grown up. What's fascinating, it didn't bore me. Strange statement.

After I saw weird reviews about this, had to watch it myself.

Worth a watch and you're gonna love the techno doses throughout 10/10 for the location and visuals, melts me .

Plot was pretty simple and easy to understand no bs.

Characters were surprisingly written without the laziness and felt like the really put that effort into the writing..

The editing, how can I not talk about it, real good and accurate stuff considering the overall theme of the movie, alcoholism drugs, paranoia, felt the the editor was going through the story himself.

Again felt similar to Lady Bird for some reason

Is it only me ?

The struggle to overcome addiction is indeed a noble one, and it's been the subject of many fine films over the years. The same is true of movies that explore individual efforts to get one's life back on track by returning home to one's roots, both as a way of finding oneself and healing. And, in the latest effort from writer-director Nora Fingscheidt, viewers get some of both of these cinematic motifs, based on the fact-based memoir penned by author and journalist Amy Liptrot. The film follows the odyssey of London-based biologist Rona (Saoirse Ronan), whose wild child tendencies and descent into alcoholism cost her a promising career and a loving relationship with her significant other, Daynin (Paapa Essiedu). But, after successfully undergoing a 12-step program, she decides to return home to the Orkney Islands just off the coast of Scotland to recover and regroup. While there, however, she must confront the ghosts of a past that may have contributed to the development of her substance abuse, most notably dealing with her separated, dysfunctional parents, Annie (Saskia Reeves), a born-again, sometimes-overbearing fundamentalist Christian, and Andrew (Stephen Dillane), a bipolar sheep farmer who has some questionable habits of his own. In telling this story, Rona's experiences are presented in nonlinear fashion, mixing flashbacks with her period of recovery, a commonly employed approach used in films like this. However, despite Ronan's phenomenal performance, some truly poetic script writing and the picture's gorgeous cinematography of the windswept Scottish landscape, the film's back-and-forth narrative can at times be confusing (and annoying), not to mention repetitive. What's more, save for some of this story's unique particulars, the material at times is rather predictable - indeed, almost clichéd -- when it comes to pictures in this genre, offering little in the way of groundbreaking insights. That's unfortunate, because, with a little fine-tuning in these regards, this could have been one of the year's better releases. However, as it stands now, the finished product sometimes feels like it gets in its own way, and that's caused "The Outrun" to be treated more like "The Also-ran" instead of a bona fide awards season contender, one whose strengths, unfortunately, have been generally overlooked or ignored. This is a story that definitely deserved better, and it's a shame that it didn't get it.

A lovely film, beautifully acted, and very realistic. So dark and hopeless for most of its duration, but it's vital that alcohol user dependents (AUDs) know that there is an easier way out of this disease than abstinence programmes, which usually fail - neuropathic pathways can be reversed 👍💪 😊 - check out TSM, The Sinclair Method - much better success record, using the prescriptive drug Naltrexone, currently n/a because of NICE stipulations, but available privately. People with this addiction urgently need to be informed of this drug - it's life altering, for sufferers, families, friends. Spread the word.

The Outrun follows the story of Rona, played by Saoirse Ronan, a 29-year-old fresh out of rehab who returns to the island of Orkney after more than a decade of being away. As she reconnects with the dramatic landscape of where she grew up, memories of her childhood merge with the more recent challenging events that have set her on the path of recovery. The film is based on Amy Liptrot's memoir of the same name, directed by Nora Fingscheidt in a lyrical and free-form structure that is filled with metaphors and moods of fragmentation through the changes in the protagonist's hair, which shares the similarity of the film, "Eternal Sunshine of a Spotless Mind."

Saoirse plays a young woman born in Orkney who has lived in London for over a decade to escape her tragic and traumatic childhood. Hoping to find freedom and joy, she instead formed a relationship with alcohol and parties, which led to her character becoming violent and depressed.

Rona's toxic involvement in alcohol leads to a violent and vulnerable situation, which ends up tearing her relationship with her boyfriend (Paapa Essiedu). Saoirse Ronan showcased her powerful yet painful performance in this involving addiction-recovery drama. I think it's safe to say that Ronan is one of the best actresses of this generation. Everything she does in this film shows how much power and authenticity she shows to her character, from subtle and poignant expressions to violent drunk acting. It's a range that only a few actresses in this generation can pull off, and Saoirse handled her character in a careful yet personal manner.

Stories about addiction, depression, and isolation always resonate with me on a personal level. It's a topic I hold dear mainly because of how much I relate to these kinds of stories, and "The Outrun" is one of those films that hits you in the right places. The film is crafted carefully, making sure that they are not just highlighting the struggles and chaotic path of a person with an addiction but also showing the continuous journey of someone's soul entangled in addiction. This is where I think the film felt very personal and honest, as it does not try to manipulate the viewers by showing the intense tantrums or breakdowns of a person with an addiction --- it's not that these scenes are absent in the movie, but they treated it like it's less pivotal. Instead, they showed us more of Rona's road to recovery.

On the road to recovering from addiction, it's essential to confront your past and find the root cause of it. In Rona's case, it was because of her troubled childhood with a bipolar father, in which she witnessed severe episodes, and a religious mother---these factors posed a question to Rona: was her addiction nature or nurtured? Even the title of the film, "The Outrun," refers to the remote island of Orkney that isn't suitable for farming and is constantly battered by strong waves and winds, which could serve as a metaphor for Ronan's character. The film allows the viewers to experience the wonders and beauty of the island, yet it's intimidating and mysterious, coated by its peace and quiet nature. The Island Orkney does not just serve as a backdrop of the film, but rather, it serves as a metaphor throughout the story, mirroring Rona's inner world.

The wild and untamed nature of the island Orkney reflects Rona's chaotic past and the isolation she feels due to her addiction. The islands' perilous cliffs, unpredictable weather, and vast, open spaces symbolize freedom and the threat of confronting one's demons. The harsh yet majestic Orkney underscores Rona's journey toward self-discovery and healing. The island becomes a sanctuary, offering her the clarity and peace needed to face her addiction. The cyclical nature of the tides and the relentless winds serve as metaphors for the ebb and flow of her recovery process, emphasizing the ongoing struggle and resilience required to overcome addiction.

In conclusion, "The Outrun" is a beautifully crafted exploration of addiction and recovery, brought to life by Saoirse Ronan's powerful performance. The film does more than depict the turmoil of Rona's addiction; it captures the essence of her journey toward healing with authenticity and grace. Director Nora Fingscheidt's lyrical approach, combined with the haunting beauty of the Orkney Islands, creates a powerful metaphor for Rona's internal struggles and resilience. "The Outrun" stands as a testament to the strength of the human spirit, reminding us that, much like the island's rugged landscape, the journey to recovery is both challenging and beautiful.

"Let's start one day at a time."