The Outrun is a striking adaptation of Amy Liptrot’s 2016 memoir, following the story of Orkney-born Rona as she battles her alcohol addiction. We follow Rona, played powerfully by Saoirse Ronan, in her recovery journey as she returns home from London to the remote islands of Orkney. With each day sober, she reminisces on her drinking days – how she felt, what she did, who she hurt – and we see the dark, wild past that she struggles to leave behind.
The film opens with one of the final scenes from Liptrot’s memoir – an underwater shot, exploring the folklore of Selkies (seals) in Orkney. This folklore theme continues throughout the film, creating a wholesome and magical feeling to contrast the raw, thumping, almost painful flashbacks to Rona’s drunken sessions in various clubs, pubs, and houses across London.
Overall, the film is beautiful. The aesthetics between the underbelly of London and windswept Orkney are tough to combine, however, German director Nora Fingscheidt does it effortlessly. Through a powerful use of sound to link the two places together, to surreal and hallucinogenic shots of the Ring of Brodger, the constant flipping through time feels natural and immersing rather than confusing or jarring. Rona’s hair colour helps to define the playful timeline, switching between blue, pink, bleach blonde, and settling on a fiery orange by the closing scene.
Saoirse Ronan at The Outrun Red Carpet
Ronan’s performance is so flawless and remarkable that a documentary feel is added to the film. Her character comes across so raw and honest that it’s impossible not to connect with her. For a 2-hour film, I remained immersed in her performance the entire time. We also connect with Rona’s parents – her Dad, living in a caravan and working the farm, and her Mum, living in the town in a small house, devoted to her religion. Parental frustration plays an important role in the film, as Rona struggles to manage her Dad’s bipolar disorder and deal with her Mum’s religious lifestyle.
A scientific tone
Alcohol is treated and introduced without opinion, through Rona’s narrative which continues at intervals throughout the film. A scientific approach is taken, explaining the effects of ethanol on the system and how addiction can occur. There is a matter-of-fact understanding of addiction – it is not introduced as the enemy of the film or a dark force of any sort, but rather as a scientific fact, a part of life, that Rona is not at fault for but has to overcome. Her challenge leads her to Westray Papay, in the North of the Orkney islands. Nature here is raw, the community small and tight, and Rona begins to connect with the people around her as well as the nature around her. Wild swimming, selkies, and beach combing all mark a turning point in her interests. She learns how to live, and how to enjoy life, in the absence of alcohol.
There was just one drawback to this powerful rendition of Liptrot’s story – the 2D animation of a folklore tale felt a little detached and out of place from the style of the rest of the film. It is clear that it was connected to Rona’s childhood imagination, illustrating her fears and mindset of the past, however, it didn’t feel as fitting as was perhaps intended to. However, this is greatly overshadowed by the mastery of the rest of The Outrun. Ronan’s performance, combined with the clever use of sound and music, created a beautiful, striking, memorable film cleverly bridging the gap between London and Orkney, whilst tastefully and sensitively exploring the struggle of a recovering alcoholic.
The Edinburgh International Film Festival runs from 15-21 August. Tickets and showings are available here. Brig’s coverage of the festival can be found here.
Featured Image Credit: StudioCanal
Journalism student at the University of Stirling & BRAW Magazine editor 24/25 and 25/26 🙂
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