There is much to recommend this addiction dram directed by Nora Fingscheidt and co-produced by Ronan, who also excels in her first present-day film role in nearly a decade
The Outrun: Saoirse Ronan gives a forceful performance as an alcoholic in white-knuckle recoveryThe Shawshank Redemption at 30: is it really the greatest film ever made?
We first meet Rona, as the protagonist is here called, arriving to the Orkneys after a decade sliding towards addiction in London. The film is careful not to unequivocally associate her drinking with family trauma, but both parents are, in different ways, at a psychological distance from her. Annie , her mother, has escaped into religion. Andrew , her dad, has a bipolar condition that continues to make socialising complex. “How’s mum?” he asks his daughter. “She offered to ...
Throughout the film’s slightly stretched two hours, we flash back constantly to earlier experiences in London. Yunus Roy Imer’s camera show no rural bias. He finds a smoky beauty in the high rises of the big city to compare with the yawning spaces through which Rona embarks on recuperation. It is important, in such tales of recovery, to acknowledge the good times that preceded the bad. The effort required to escape is more easily credited if we understand what relief the drug once provided.
What does she have in its place? No comfortable family hearth. Little buzz and bustle. Her eventual gig locating corncrakes for the Royal Society for the Protection of Birds is, no doubt, a vital ornithological pursuit, but it also has the quality of a mad enthusiasm her title character might have pursued in
The Outrun, which Ronan co-produced, has no unexpected lessons to impart. The film-makers know not to make the arc of redemption too clunkily final. Not everyone will give in to the barely structured drift upon which they settle. The depth of characterisation is, however, not to be resisted. Ronan remains a force.
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