There is a song by Bjork, perhaps her best one, about boredom within a relationship. It’s called Hyperballad. Within the confines of the song, the lyrics tell of the artist in a tedium that is not without safety nor love. Instead, it is about a bereft emptiness that grips us all. To remedy it, in the song, Bjork wonders to a cliff-top to throw small items off of it such as bottle caps. Sometimes she imagines throwing herself over, conjuring how she would land.
Despite honouring its title card to The Boss, Bruce Springsteen, it is this song which is conjured in Scottish drama Run.
Directed by Scott Graham, who gave us Shell and Iona, Run revolves around Finnie, a Scottish fishmonger who works in a processing plant in Aberdeenshire. Feeling constricted in his life, married to his high-school sweetheart with two growing songs, Finnie believes his solution is to, well, run, and that he does. Taking his eldest son Kid’s drag-racing car, Finnie immerses himself in a rebelling night of thrill-seeking that once peppered his youth. However, he is not alone for the ride and soon finds a kindred spirit in Kid’s pregnant girlfriend Kelly.
Keeping the film at a tight 76 minutes means Graham’s work here is doused with passion and a fiery need to reconnect with one’s self. Bring two equally disaffected characters and sitting them behind a wheel, with a full tank of gas and empty Scottish roads, proves affecting and engrossing. Though the dizzy races can leave your head spinning, it is charged with emotions and longing. Cleverly it examines the road we may travel and how one can find themselves adrift in their own happiness.
Visually stunning and captivating, every angle of the vehicle used to craft an affective film. Cinematographer Simon Tindall certainly knows how to use space – where it is the barren land that proves estranging or the car’s seemingly endless supply of freedom – Run is an exquisitely rendered movie.
However, magic truly happens within the confined space of the care. Sparks and spirits fly between Mark Stanley’s brooding Finnie and Marli Siu’s strong-willed Kelly. Through them, this story travels as they are achingly similar despite the generational gap (and Kid) wedged between them.
For those who seek to throw bottle caps of cliffs or re-energise a hidden place of their youth, Run is a film that will attract you. It is not without flaws, especially when Amy Mason’s equally miffed Katie is without much screen time, despite her fleshing her out greatly in her meagre minutes in the film.
till there is yearning here and the energetic flow between Siu and Stanley is not to be missed.
Run is out in cinemas now