Domhnall Gleeson brings his signature charm to an otherwise challenging cinematic experience in The Incomer, Scottish writer-director Louis Paxton's debut feature that premiered at the Sundance Film Festival. This aggressively quirky comedy follows two isolated siblings living on a remote Scottish island who must confront an unwelcome visitor from the modern world.
A Remote World of Myth and Isolation
The film introduces us to Isla, played by Gayle Rankin, and her brother Sandy, portrayed by Grant O'Rourke, who inhabit an abandoned Scottish isle completely cut off from contemporary society. These siblings have developed their own mythology, believing themselves descended from the gulls that populate their island's cliffs. Their daily existence involves flapping, squawking, and maintaining a deep suspicion of all outsiders, whom they refer to as "incomers."
From the opening scenes where the siblings caw like birds and beat sacks labeled "incomer" with clubs, Paxton establishes a deliberately askew tone that some viewers may find alienating. The humor operates in a peculiar register that blends juvenile antics with dark undertones, creating an atmosphere that proves difficult to settle into for those with an aversion to twee sensibilities.
When Modernity Meets Mythology
The siblings' insular world faces disruption when Daniel, played by Domhnall Gleeson, arrives as a local councilor sent to evict them. Gleeson, fresh from his starring role in The Office spin-off The Paper, brings his perfected milquetoast middle manager persona to the role, creating an admirably game foil to the siblings' rock-pelting insanity.
Daniel's introduction to the islanders involves explaining basic modern concepts like the internet, which the siblings view with utter bewilderment. His smartphone becomes a source of "wizard powers" that initially frightens Isla and Sandy, while his retelling of bureaucratic tales as The Lord of the Local Authority slowly begins to build trust between the worlds.
Performance Dynamics and Cinematic Strengths
Gleeson's performance provides the film's most consistent anchor, particularly in his interactions with the siblings. Grant O'Rourke manages to make Sandy's lovably doltish puppy-like enthusiasm for Daniel both amusing and surprisingly touching, even when tasked with absurd physical gags like hitting his own head with a rock.
Gayle Rankin's portrayal of Isla offers moments of genuine sweetness when her character's cartoonish defenses drop, revealing vulnerability beneath the exaggerated scowls. Cinematographer Pat Golan captures the island's landscapes with patient beauty, creating lush visuals that contrast with the film's often chaotic energy.
Conceptual Challenges and Narrative Struggles
Despite these strengths, The Incomer struggles to maintain a consistent tone throughout its runtime. The film repeatedly returns to jokes about the islanders' ignorance of modern technology, eventually risking insult to their intelligence rather than offering meaningful commentary. While a generous interpretation might see their bewilderment at electric toothbrushes as highlighting modern disconnection, this insight often gets buried beneath layers of self-satisfied weirdness.
The narrative occasionally shifts jarringly into sincere revelations about trauma, abandonment, and empowerment, creating tonal whiplash that undermines both the comedy and drama. A climactic swing toward violence and "revenge of the nerds" territory, complete with a "maybe I AM weird" speech, feels particularly disconnected from the film's earlier established rhythms.
Audience Reception and Festival Context
Reception at Sundance appears divided, with some viewers finding the film's specific concoction of absurdism, sentimentality, childish humor, and dark punchlines genuinely amusing. The screening attended by critics featured numerous guffaws from audience members who connected with the film's messages about human connection and snap judgments.
Where some viewers may be put off by The Incomer's cutesy hijinks, others might discover winsome observations about the fickle magic of human relationships. The film represents a bold, if uneven, debut from Louis Paxton that showcases distinctive vision alongside significant growing pains as a filmmaker.
The Incomer continues its festival run at Sundance while seeking wider distribution, offering audiences a chance to experience its unique blend of Scottish isolation mythology and bureaucratic comedy. For those who connect with its peculiar wavelength, the film provides an unconventional exploration of modernity's collision with tradition.
