THE OUTRUN

Online ticket sales end at 5:00 today. Additional tickets will be available at the door starting at 7:30.

Based on the best-selling memoir by Amy Liptrot, THE OUTRUN is set in the otherworldly Orkney islands of Scotland. It’s a brutally honest drama about addiction and recovery, strength and survival, mental health and the ability of the sea, the land and of people to restore life and renew hope. After a decade away in London, 29-year-old Rona returns home to the Orkney Islands. Sober but lonely, she tries to suppress her memory of the events which set her on a journey of recovery. Slowly the mystical land enters her inner world and – one day at a time – Rona finds hope and strength in herself among the heavy gales and the bracingly cold sea.

Please stay for a discussion after the film with Emily Feiner, LCSW. Emily Feiner is a social worker with extensive experience in the areas of substance use disorders, mood disorders, and trauma. She has served as the Director of The Clarkstown Counseling Center, and the Russell E. Blaisdell Addiction Treatment Center, both of which were licensed by the NYS Office of Addiction Services and Supports (OASAS). Previously she worked with at risk youth, and with homeless, unwed pregnant women. She served as the Program Manager for the Returning Combat Veterans Program at the VA New Jersey Healthcare System and later the Chief of Social Work Services at VA New Jersey. She has experience in both clinical and administrative roles and maintains a small private practice.

“Saoirse Ronan has made it apparent that she is one of the greatest actresses of her generation. Nominated for four Oscars before she was out of her mid-20s, the Irish actress is the sort of performer whose presence in a movie is sufficient reason to see it. She chooses her projects carefully, often movies about complex women, and throws her whole self into them, with unforgettable results. But how she does what she does is harder to pin down.” Critic’s Pick – NY Times

“This singular actor gives one of her finest performances in a two-hour study of addiction that is poignant, sometimes beautiful but always painful to watch — and would likely be too draining if not for the luminous presence at its core.” – Associated Press

“In every shot and every scene, mostly in closeup, Ronan carries the film with her unselfconsciously fierce and focused presence.” – The Guardian

“Ronan manages to turn a familiar story into something like an epic of self-forgiveness. She knows when to hold back, letting a quiet moment on a beach or a furtive stare at a store shelf stocked with bottles say everything that need be said. And she knows when to unleash a fury that, in its out-of-the-blue ramp-up, is startling in its intensity.” – Rolling Stone

“Everything rests on Ronan’s uncanny ability to take us to places we’ve never been before. That she does with meticulous attention to subtle detail. There’s nothing of the showoff in her performance, nothing fake or actressy. That’s what makes Ronan unique and unforgettable. And so, when it’s flying on the wings of her artful magic, is The Outrun.” – ABC News

“A film that could have settled for being a masterclass in technique, but instead goes deeper, exploring questions of artistry, authorship, legacy.” NPR

“Had The Christophers just been a cross-generational punch-up, the sort of flinty showdown designed to throw off pleasurable sparks, you’d still walk away content. It remains a conduit for two of the best performances you’ll see all year.” – David Fear, Rolling Stone

“The Christophers is largely a comedy, but it’s also about all that we gain and lose with age, and about how we sometimes need young people to bring us back to ourselves.” – Stephanie Zacharek, TIME

“Having lost the inspiration that guided him to greatness, Julian is an artist who can no longer paint, and Lori is an artist who has lost all confidence in there being a place for her work in the larger world. For all the undercurrents about fame, commodification, and reputation that flow through The Christophers, at its core is a more plaintive lament about what it feels like to love something that doesn’t love you back.” – Alison Willmore, Vulture

“Go see The Christophers. Show up, and support a tiny, talky experiment that has no relationship to IP or sequels or box-office projection. It’s not a perfect movie, but it’s also never, as Lori grudgingly notes about Julian’s work, uninteresting. And in this cultural moment, that’s an authentic win.” – Elizabeth Weitzman, Time Out

“The Christophers is a work of criticism that deftly distinguishes different approaches to criticism.” ­– Justin Chang, The New Yorker 

“Brims with hilarious dialogue, lightly satirical observations of a culture that treats art as a commodity, and satisfying payoffs to a number of story elements planted early on.” – Seth Katz, Slant Magazine

“In the end, this film about artists becomes a work of art in its own right. The more you look at it, the more its many components reveal themselves to you.” – Chase Hutchinson, The Wrap

“Ian McKellen plays Julian Sklar, a sardonic art legend who meets his intellectual match in frank preservationist Lori Butler (Michaela Coel). In a test of wits and wills held mostly in a single-setting, Soderbergh pushes both characters to return to their former passions through philosophical conversations that reflect his own career.” – Robert Daniels, Screen International

“It bats about ideas pertaining to art, commerce, ownership and legacy with dexterous aplomb and boasts two equally superb leads who make the material crackle.” – David Rooney, The Hollywood Reporter

“The Christophers is a talky, at times incredibly funny, comedy drama with plot reversals that make it feel like it’s on the verge of a thriller. It doesn’t end up there, at least not strictly, but it’s unpredictable enough to never make us entirely sure just where it’s heading.” – Benjamin Lee, Guardian

“There’s no room for anything shy of genius in The Christophers, a crackling original drama about artistic legacy in all its facets, directed by Steven Soderbergh , from a script by Ed Solomon (No Sudden Move) and starring two top-notch English actors of wildly different backgrounds and styles, Ian McKellen and Michaela Coel, at the top of their respective games.” – Peter Debruge, Variety

“With Ian McKellen in superbly crotchety form and Michaela Coel exuding chilly cunning, it’s further proof that Soderbergh remains one of American Cinema’s most inimitable, and adventurous, auteurs. – Nick Schager, The Daily Beast