The Irish actor gives a full-body performance as a young woman recovering from addiction
Addiction can easily feel tired on screen.
There are bar fights, physical injuries and near sexual assault. There is the loss of her life as she knows it – an intelligent, once promising young woman reduced to sitting legs akimbo on the pavement, head semi-consciously bowed over a can of beer at dawn, as strangers walk past in disgust. And there is the return to Orkney, tail between her legs, a desire to seek solace in the freezing cold water, the birdsong, the unexpected mysteries of seaweed and Orkney mythology.
We see all this unfold out of sequence, part mystery, part memory, as Rona’s search for renewal on Orkney and then on the tiny island of Papay is plagued by the sporadic recollections of what brought her here. The soundscape vibrates with dance music as Rona delivers a lamb . It pulses with the hiss of the waves and the wind. The screen fills with close-ups of sand and seals and the weathered faces of Rona and her parents.
But Ronan’s performance holds our attention. She is astonishing in this role, able to harness both fragility and determination in equal measure. She dances alone as if exorcising demons from her body, pretends to conduct waves on the beach with unparalleled joy. Could this be the film Ronan finally wins an Oscar for? She would certainly be a worthy winner. Hers is a full-body performance: Rona is as effervescent even in sobriety as the magnificent wilderness she has chosen as her remedy.
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