The Outrun, 2024.
Written and Directed by Nora Fingscheidt.
Starring Saoirse Ronan, Paapa Essiedu, Nabil Elouahabi, Izuka Hoyle, Lauren Lyle, Stephen Dillane, Saskia Reeves, Naomi Wirthner, Tony Hamilton, Posy Sterling, Danyal Ismail, Scott Miller, and Seamus Dillane.
SYNOPSIS:
After living life on the edge in London, Rona attempts to come to terms with her troubled past. Hoping to heal, she returns to the wild beauty of Scotland’s Orkney Islands where she grew up.
As its Sundance crowd has reported, Saoirse Ronan is incredible in writer/director Nora Fingscheidt’s The Outrun (based on Amy Liptrot’s memoir.) There is no questioning that, but otherwise, this film is a badly edited nonlinear misfire that practically undermines the unfolding drama at every turn, frequently stopping engagement as soon as something compelling arises. Generally, this drama comes from the followers of 29-year-old alcoholic biology expert Rona’s (Saoirse Ronan) drunken actions and how that correlates to loved ones, whether it be her boyfriend Daynin (Paapa Essiedu) pushed beyond his breaking point or mother Annie (Saskia Reeves) on the receiving end of hurtful intoxicated outbursts while trying to give her space and isolation to recover and heal.
Rona’s narration points out the reality that even when someone is seemingly doing fine and happy, the urge to drink can suddenly arise from nowhere. That would be a convenient narrative device in the wrong hands, but here, it feels like an unflinchingly realistic character detail. The creative decision to present much of this out of order (viewers are intended to use the color of Rona’s hair to maintain a grip on where they are in her journey) also gives the film an authentically hazy vibe that’s probably not out of place with what recovery feels like. Regarding the drinking benders themselves, Saoirse Ronan never lets the drunken antics come across as exaggerated; she is wild and hurting and desperate and vulnerable, with deeply expressive body language and frenetic camera movements appropriate for the moment.
The significant issue here is that Nora Fingscheidt and editor Stephan Bechinger struggle to wield the nonlinear approach as a tool to cut deeper into these characters and dynamics. Instead, it routinely interrupts momentum or leaves subplots feeling half-baked, such as Rona’s father’s (Stephen Dillane) bipolar history and how growing up around that impacted her childhood. Even the central romantic relationship between Ron and Daynin lacks an emotional thrust, with its concluding moments fizzling out into something logical but forgettable.
Rona also seems to realize that one needs a passion to do some saving if alcoholism is ever to be defeated. She does have a Masters degree in biology and is summoned home to Scotland’s Orkney Islands to work through her personal demons while also getting further in touch with nature and animals. These things she loves could potentially push her into a tunnel of light. However, this aspect also comes with narrative rambling, as Rona consistently tells mythological stories and rattles off random scientific facts that typically don’t bear much meaning on anything happening. It’s cute the first few times (especially when it paves the way for a striking animated sequence) but quickly becomes an unintentionally hilarious nuisance. At least the gorgeous documentary-like shots of the island, its architecture, and its crashing waves (courtesy of Yunus Roy Imer) fit into the themes without being a confounding distraction.
There are several other characters and subplots here, most of which involve Alcoholics Anonymous groups and fellow recovering addicts. However, once again, the characters feel like afterthoughts, and the haphazard, clumsy editing does no favors in maintaining an investment in their stories. As much as it hurts to say, considering Saoirse Ronan is a convincing wreck in the role, nuanced in the sober moments and throwing all of her physicality into the drunken chaos, The Outrun doesn’t have one caring if she achieves sobriety or not. The film is that misexecuted structurally.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
