In The Outrun, Saoirse Ronan is given a role where her maturity, composure, technique, and passion as an actor truly shines. But even on top of that, The Outrun serves as a harrowing yet tender deep dive into those affected by addiction and the healing power of nature.
The plot follows a young woman Rona, recently out of rehab, returning to her family living on the Orkney Islands. The story is based on the memoir by Amy Liptrot based on her own struggles with alcoholism.
In a recent article for The Guardian, Liptrot commented on the production of the film, which she co-wrote. She focused particularly on the difficulties reconciling the internal emotions inherent in a memoir versus the visual imagery of cinema. I can assure that The Outrun does not disappoint. The cinematography is astounding, as it is so personal and tender. The blues when Rona goes cold water swimming are freezing and the heat of the fires that she lights to warm herself pierces the screen. This can be similarly felt in the sound design, the crashing waves onto the cliffs of the islands pushed me back in my seat. The Outrun forces you to feel the healing powers of nature.
A major point of contention has been the nonchronological story structure which some critics have found confusing. I could not have loved it more. The film almost acts as a series of contrasting vignettes representing the day-to-day highs and lows of recovery from addiction. It deals with the real struggles of a vulnerable individual in attempting to simultaneously reconcile their past, present and future.
Ronan absolutely lights up the screen. Her performance is at times subdued, at times electric, but at all points you completely experience Rona’s suffering and her mental fortitude.
All of this comes together to create a very personal portrait of addiction. This does not feel like a story told hundreds of times before but a personal battle we get to share in.
“How I LIve Now – Saoirse Ronan” by Ross is licensed under CC BY 2.0.