The Outrun
Dustin Chase
Films about addiction, specifically alcohol, are not in short supply. Particularly popular during awards season, addiction films provide an actor a platform to flex performance skills previously untapped and hopefully a window of hope for those who suffer. Andrea Riseborough, Bradley Cooper, Anne Hathaway, and Michael Fassbender are just a few recent actors who have received Oscar nominations for portraying people with addictions on screen. Four-time Oscar nominee Saoirse Ronan (“Lady Bird,” “Little Women”) will likely be the latest to join that club based on her performance in “The Outrun.” Director Nora Fingscheidt (“The Unforgivable”) finds a unique way to adapt the novel into a film using folklore and focusing on elements specific to Scotland’s Orkney Islands.
The environment has enforced much of Rona’s addiction. A master’s in biology, an ideal job, and a boyfriend (Paapa Essiedu) were no match for her love of alcohol. “I can’t be happy sober,” she confesses at one point. Her childhood was filled with confusing love from a father (Stephen Dillane) who also had an addiction. In and out of meetings, rehab, and endless rock-bottom episodes, Rona (Ronan) has no passion for anything but the bottle. She explores work on one of Scotland’s Archipelago, isolating herself from family, friends, noise, and anything that resembles her previous way of living. Rona takes a naturalistic approach to recovery, embracing the harsh and unforgiving elements of the neolithic island chain.
"The film captivates our interest even when Rona isn’t actually speaking, instead narrating her thoughts or providing the viewer with insights."
There is a moment in the film where Rona finds something unusual washed up on the beach. She explains in voiceover that the morning after gale force winds is when you find the most peculiar items. It’s almost a metaphor for how Fingscheidt directs “The Outrun.” In one section of the film, which is told in a non-linear fashion, we find Rona loud, obnoxious, and cringe-worthy, disrupting everything in her path. She is literally “washed up”. What’s left behind after her alcoholic storm is a broken woman with no direction. Watching some drunk find themselves might seem dull for a film, but Ronan’s powerful performance connects on many levels. The film captivates our interest even when Rona isn’t actually speaking, instead narrating her thoughts or providing the viewer with insights.
At only thirteen years old, Ronan received her first Oscar nomination for “Atonement” and has delivered impressive work ever since. If the American/Irish star is nominated for “The Outrun,” she will make history with five nominations under 31. From the action film “Hanna,” the apocalyptic “How I Live Now” or her should-have-won-an-Oscar performance in “Brooklyn,” she’s as solid and steady as they come. The character of Rona allows her new territory as a performer. The editing can be challenging, but the trick is paying attention to Rona’s varying hair color. There are elements of her character, Lady Bird, such as her disconnection from family and place, as we saw her portray in “Brooklyn.” It’s as if all her best roles have been preparing her for this challenge. Perhaps a tad too long, tighter editing to omit some redundancy. Yet, what washes up after this metaphorical storm is a visual treat, leaving us with more than just documented self-recovery. It’s a journey almost worthy of a passport stamp.
Final Thought
Ronan’s previous Oscar-nominated achievements have given her the experience required for this, her most challenging performance to date.