The Outrun (2024) – Film Review

Director: Nora Fingscheidt
Cast: Saoirse Ronan, Stephen Dillane, Saskia Reeves
Certificate: 15

By David Reid

In this film, based on Amy Liptrot’s memoir, Saoirse Ronan plays Rona. It opens as Rona returns to the place of her upbringing, in The Orkney Islands – somewhere she last lived ten years previously. Most recently, she had been living in London and had become embroiled in a life of excess, which had led to addiction that overwhelmed her ability to function.

We find Rona at a time when she has lost her relationship, her employment and has been the victim of an assault, whilst inebriated. Although the audience are provided with scant details of her life, we are informed that she has had a University-level education. We are given scenes, in flashback, about Rona’s time in London. Whilst we, the audience, are trying to figure out how Rona found herself in these circumstances, she is seeking to discover where she goes from here.

In this way, writer/director Nora Fingscheidt skilfully draws the viewer into the action and encourages us to understand and empathise with her circumstances, as she attempts to find her way to a better place. Some scenes show her experience of rehabilitation and we are given details, through Rona’s narration, about the low prospect of a successful outcome, from that form of rehabilitation, alone.

“Tender performance”

We are introduced to Rona’s parents, Andrew and Annie, in strong supporting performances by Stephen Dillane and Saskia Reeves. In their attempts to support their daughter, they are hampered by their own difficulties and struggles. There is also a tender performance, by Paapa Essieudu, as Daynin, Rona’s intimate partner in London. Over the course of the film we are given glimpses of this – once again, primarily in flashback. We are given a sense of how island life can be isolating and challenging. Rona experiences the downsides of close-knit community life, including everyone’s apparent interest in each other’s lives, at such a difficult time for her. Rona’s interactions with other islanders carry a Ken Loach-like sense of realism. In keeping with the same director’s approach, this aspect evolves over the two-hour run time.

As Rona’s battle with addiction is represented, creative camerawork, including clever use of a 360-degree shot to convey her claustrophobia, at one point, is of particular note. The magical effect of watching bonfire sparks dance into the night air is masterfully recreated – and dwelt upon – in one scene. This is film direction as poetry.

As might be anticipated from the subject matter, the success of this film hinges upon Saoirse Ronan’s performance. It has been five years since she wowed us with her portrayal of Jo in Little Women. This four-time Oscar nominated actress has just commenced her third decade of life and here she shows a maturity which reflects her cinematic experience and ability.

“Ethereal quality”

As so much of the story of Rona’s struggle with addiction is internal, one of the primary challenges of this movie involves how to share this effectively without much in the way of plot development. This is a raw and compelling lead performance which helps us gain a strong sense of the daily struggle required to remain abstinent – and the importance of achieving and recounting – the number of days of continuous sobriety to that end. Rona follows and draws upon the approach, and support, of Alcoholics Anonymous. It is a testimony to the persistence of the human spirit. Fans of Ms Ronan will not be disappointed.

Then there is the geography of Orkney. In particular, its remoteness and harsh weather conditions. The beauty and fearsome power of nature in The Orkneys, in it own way, becomes an additional supporting character here. The wind howls; the sea roars; and the rain and snow can be horizontal.

There is an ethereal quality as to how nature is presented here. This is no touristic picture postcard representation of Scottish island life, but it is all the more enriching for that. We are reminded of the potential healing properties of the natural world. This is enhanced by a beautiful musical score, composed by Jon Gurtler and Jan Miserre. The sweeping melodies contrast with the technomusic which Dona deploys, through her headphones, to help her to sustain her sanity, at times of difficulty. These elements combine to demand that this movie is seen on a big screen, for the best experience.

This is a heartening film which will live long in the memory. It could also have special meaning, in particular, for those with have encountered mental health or addiction problems. Wild swimmers will also love it – along with countless others.