After ten years away, Rona (Saoirse Ronan) returns to the rugged, remote Orkney Islands, seeking to rebuild her life after years of alcoholism.
The Outrun, directed by Nora Fingscheidt, is a quiet yet emotionally resonant adaptation of Amy Liptrot’s 2016 memoir by the same name. It’s a meditative, introspective film that captures the struggle for sobriety and self-discovery amid the stark beauty of the Scottish islands.
Rona, having fled her troubled past in London, finds herself reconnected to the wild, elemental landscapes of her childhood on the isles of Orkney. Rona’s story unfolds in non-linear fragments, with flashbacks guiding the viewer between her chaotic downfall in London and her early steps toward sobriety on her father’s sheep farm.
Her father (Stephen Dillane), who has long struggled with manic highs and depressive lows, is a source of deep-seated trauma that Rona has numbed with alcohol and self-destructive behaviour for years.
Fingscheidt’s direction is subtle and commendably unfussy, allowing the natural setting to seep into every frame. The bracing sea winds, vast empty fields, and isolated beaches reflect Rona’s internal turmoil while also serving as a source of healing and reflection. As she navigates her inner demons, the film’s pacing mirrors her recovery—slow, deliberate, and painful, yet full of hope and determination.
Saoirse Ronan delivers a career-defining turn as Rona, balancing fragility with quiet resilience. Her portrayal of a woman confronting her past without succumbing to melodrama is one of the film’s strengths. Supporting performances, particularly from Paapa Essiedu as Daynin, Rona’s compassionate ex-boyfriend, and Saskia Reeves as Annie, her caring mother, provide depth to a narrative that often feels deeply personal.
The screenplay, co-written by Fingscheidt and Liptrot, feels deeply rooted in the source material, drawing heavily on the memoir’s reflective tone. The dialogue is sparse, yet hugely naturalistic, allowing the actors to communicate through expression and silence, which often speaks louder than words.
While a tad slow-moving at times, the film benefits from its deliberate pacing, inviting viewers to immerse themselves in Rona’s world. The cinematography, with its expansive shots of Orkney’s wild landscapes, emphasises her isolation but also the beauty of finding oneself in the wilderness.
The Outrun is a clever, well-acted, and gorgeously executed meditation on healing and self-discovery, anchored by Ronan’s standout performance. Fingscheidt masterfully captures the haunting beauty of Orkney, crafting a film that’s as much about nature as it is about the human spirit.
The Outrun is in cinemas from Friday September 27th.
