The Outrun

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.

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 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.

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.

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.