Review: The Outrun – Cineeuropa

– Berlin 2024: In this adaptation of Amy Liptrot’s autobiography, Nora Fingscheidt launches Saoirse Ronan on a journey of sobriety devoid not only of alcohol but also of direction.

This article is available in English.

The storm is shaking the house. The soft greenery covering the rocky landscape is drenched in misty rain. Waves are crashing against a citadel of rocks, breaking up the visual spectacle of sea spray. The Scottish Orkney Islands are worth a visit – and seeing them is something visitors get in abundance. After all, they are the refuge of Rona (Saoirse Ronan), who has returned home after spending ten drug- and alcohol-filled years in London. Here she is trying to recover from her illness.

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After premiering at Sundance earlier this year, move on ,,read this also:
Interview: Nora Fingscheidt
film profile
, Nora Fingscheidtoptimization of amy liptrotThe best-selling memoir has its European premiere in the Panorama section of the 74th Berlinale. Liptrot, who has been sober since 2011, details his years in London, when he immersed himself in a life with no limits but lots of drugs. After completing the 90-day program, which includes an attempted rape after a night of excesses that is a real eye-opener, she, or Rona, her alter-ego in the film, returns home to Orkney to get away from it all – the temptation, The depression that the city is creating. Rona says at one point, she can’t be happy without drinking. Therefore, his mission is to find a purpose, a level of existence that will give him peace.

In Orkney, the viewer gets his first look at what caused Rona to collapse so dramatically into the water. While Fingscheidt avoids portraying him as lonely and boring in one of the most remote points of the British Isles, there is a schizophrenic and bipolar father (stephen dillon), who shifts easily between caring and insulting. Then there’s the gospel mother (saskia reeves), who often watches passively as Rona pounces upon her and has no real recourse other than Jesus to help her daughter.

Fingscheidt, who wrote the screenplay with Liptrot himself, avoids presenting a strictly linear narrative. Rona’s story is told by stitching together thoughts, memories, and key events, allowing the audience to make certain revelations at a later point, thus constantly challenging the picture of this limited setting and handful of characters.

That being said, the way the story moves around, coupled with the intensity of the moment, can be overwhelming and disruptive. And while Ronan proves once again that she is one of the finest actresses of her generation, the film offers very little else. Much is revealed about Rhona’s past, but little is known about her mind. Fingscheidt’s choice to use highly dynamic camera language, simulating the blurry, flawed vision of a drunk man, is actually tiresome rather than a gateway for his protagonist. The second half of the story, tracking Rona’s interest in the islands’ fauna, sometimes feels like a salvation in waiting, lingering as the character’s final epiphany rather than just one of her smoothly connected interests. In form of.

Talking about drug and alcohol abuse is as relevant as ever, and few people are fortunate enough to live a healthy and sober life like Amy Liptrot. But overall, the film is a positive “She did it!” Presents something more than. mentality, entangled in an uneven narrative. Fingscheidt has made a career out of portraying women trapped in mental hardship and social situations. But when his success, system crasher ,,read this also:
Interview: Nora Fingscheidt
film profile
There was a different guiding principle, move on It seems to be a collection of ideas that are expected to work automatically. It’s a message that could do with some fine-tuning.

move on It was produced by the UK’s Brock Media, Arcade Pictures and MBK Productions, as well as Germany’s Weidemann Brothers, and is being sold internationally by Protagonist Pictures.

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