Nora Fingscheidt's new work had every chance to become the gem of the awards season, but for some unknown reason, major awards ignored it. Why the social drama about alcoholism 'The Outrun' still deserves recognition — in our review.

Rona (Saoirse Ronan) has been struggling with alcohol addiction for a long time. Group therapy has paid off, and the girl has abstained from drinking for over five months. It's not easy for her: sometimes she is overcome by memories of how good she felt in a state of delirious intoxication. To understand herself and escape temptations, Rona decides to return to her homeland — the Orkney archipelago in northern Scotland.

Despite the simplicity and sometimes even plotlessness of what happens on screen, 'The Outrun' is extremely complex from a screenwriting perspective. Nora Fingscheidt does not offer the viewer a melodramatic story of salvation from a terrible disease, chronologically precise and sequential. Her film resembles a carelessly stitched patchwork quilt, consisting of time jumps, flashbacks, and hallucinations.

The composition is a chaotic stream of consciousness. Diary entries and scientific notes about the flora and fauna of the Orkney Islands keep interrupting the narrative. And although these episodes often contain beautiful metaphors and allusions, they do not become a connecting link between what is shown before and after.

Fortunately, the creators still made it easier for viewers by adding a marker to determine which period of Rona's life is being discussed at any given moment. This can be understood by the color of her hair. Moreover, the change in image each time is also driven by the heroine's internal transformations.

'The Outrun' is an adaptation of the autobiographical novel of the same name by writer Amy Liptrot. There is a chance that the screenplay, co-written with Fingscheidt, will still be seen in the corresponding category at the Oscars, but Saoirse Ronan's outstanding performance will likely go unnoticed by film academics. At least, that's how it's shaping up, and it's terribly unfair, because the actress hasn't had such strong roles in a long time.

In 2024, she starred in two dramatic films vying for a spot in the awards race. And paradoxically, despite a warm reception from festival audiences, both the reviewed 'The Outrun' and Steve McQueen's film will apparently be left out.

Nikita Margaev

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Playing an alcoholic character is much harder than playing a drug addict. The point is that society's attitude towards drinking is much more condescending and accommodating, because strong drinks can be purchased without breaking the law. Many do not see alcoholism as a proportionally serious problem, and those who drink regularly think they can quit at any moment.

Saoirse Ronan's character held the same opinion until drinking destroyed her life. Being an unsociable introvert by necessity, Rona tries to reintegrate into society and restore relations with her parents. However, she spends most of her time in the company of birds and seals, walking along the picturesque Orkney shores.

The Celtic myth of the sea people, called selkies or roans, beloved by filmmakers, also found a place in 'The Outrun'. Many viewers have already become acquainted with the pinniped werewolves thanks to the masterpiece animation of Tomm Moore. True, in Nora Fingscheidt's film, these folkloric creatures do not appear, but are only mentioned. Perhaps introducing a pinch of magical realism into the plot would have looked even more advantageous.

'The Outrun' is as harsh as the landscapes of the islands washed by the North Sea. But at the same time, the film is filled with a premonition of imminent liberation. It comes before the final credits with the call of the red-listed corncrake, which Rona's character was searching for in the plot. Beautiful!

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