If there is a film considered for Academy production, transcend It’s one of them. It’s Nora Fingscheidt’s triumphant account of a woman’s ability to overcome the near-life-destroying addiction to, yes, the need for, alcohol at the breaking point of her 30s One of the situations that occurs simultaneously with relapse. . She deserves credit for her efforts and the film hits all the right tones – think of a redemption film like this wilderness came out about a decade ago for something similar (earning an Oscar nomination for Reese Witherspoon).
transcend We’re introduced to Lorna going through another downward spiral; she’s being kicked out of the bar for overdue orders and desperately begging for another drink. She believes she can only be happy when she’s drunk, which makes sense to her: sobriety forces her to face the reality that she’s a goalless master’s student living in London, and that her boyfriend has a stable career and is much richer Her friends are more important than her, and her parents are separated and trapped in a small village in Orkney, where her father experiences a manic-depressive episode. The film walks the line between melancholy/anxiety and alcoholism as a great escape from the blues, often showing us how overwhelming London can be to outsiders and how easy it is to be drawn to it. It was the promise of escaping the small village life that everyone had abandoned. You feel anxious at home, you don’t really fit in, all the friends you once knew have moved away – anyone who has lived in a small rural community will know this: the people who were once there have moved away.
Endless walks on the beach, listening to electronic music, give a sense of escape, never slowing down the film, giving Lorna the overwhelming feeling of escaping London before it inevitably becomes too much. It’s a rare triumph that Ronan gives us her vulnerability, heart and soul on screen: complex emotions flow through; beautifully shot – in the early performances before we finally see her return. Lorna compares London to the bustling communities of Orkney and Hackney. It’s a non-linear narrative that jumps back and forth between Lorna’s journey to sobriety and Lorna’s journey to sobriety. It’s not perfect, it never has been, and taking inspiration from Amy Liptrotter’s memoir and moving it to a real place with real people is what makes it a success. The Orkney landscape is tough and rugged enough to break even the strongest souls transcend It does a great job of creating an edge to its characters – it’s the first film to speak to a rural community in a way that immediately made me want to move back to the small village where I grew up. It also acknowledges that sometimes you can move on and you don’t need to tie yourself down – some people can’t do anything and everyone needs to go their own way – but transcend Recognize it and do good to those who are able.
It feels like a memoir adaptation and is paced like a novel. But don’t let that stop you – transcend The approach to its source material is much simpler than The Ugly Man . It never takes its subject lightly and recognizes that humans are complex, dynamic creatures full of their own uniqueness and strengths. The escapism and hustle and bustle of the city can sometimes become overwhelming, and the sense of tranquility brought by the sea and nature proves effective in a way that sometimes cannot, and it’s a show for themselves. Ultimately, it’s an honest look at the life of a drug addict, the constant highs and lows people go through, the sheer density of its script and an ode to a rural community facing it all; and the big city itself – it’s not a reflection at all A condemnation of its lifestyle, it instead perfectly showcases the charm of London, and this is easily a film that grabs you, hooks you and keeps you there. The film does end on a high note – Ronan’s performance makes it well worth the price of admission.
