There is a long standing cinematic tradition of the "outsider" entering a closed community, but few films take that premise to such a remote and rugged extreme as Louis Paxton’s feature debut, The Incomer (2026). Produced by Little Walnut, Day Zero, and Inevitable Pictures, the film arrived with significant buzz at the 2026 Sundance Film Festival, where it premiered in the prestigious NEXT section. Set against the breathtaking and unforgiving backdrop of an uninhabited Orkney Island in Scotland, the movie introduces us to a world that feels suspended in time, far removed from the digital anxieties of the modern mainland.
The story centers on siblings Isla (Gayle Rankin) and Sandy (Grant O'Rourke), two hermits who have dedicated their lives to a singular directive left by their late father: defend the isle, allow no incomer, and survive. Their days are spent hunting gulls for sustenance and speaking to what they believe are mythical beings, living a life of primal simplicity. This isolation is shattered when Daniel (Domhnall Gleeson), a socially awkward official, arrives with the unenviable task of relocating them to the mainland. While it sounds like a gritty survival drama on paper, Paxton leans heavily into the comedy of the situation, creating a film that explores the clash between rapacious modern progress and the fierce, poetic protection of home. Following its Sundance premiere, the film moved to a public digital window through the festival’s at-home program from late January into early February 2026.
Story and Screenplay: A Modern Fairy Tale with a Sharp Edge
Louis Paxton, who also penned the script, crafts a narrative that functions as a "Scottish adult fairy tale." The storytelling is built on the currency of legend; for Isla and Sandy, stories are not just entertainment but the very foundation of their reality. This creates a fascinating dynamic when Daniel arrives. Rather than a standard bureaucratic conflict, the screenplay evolves into a predictable but pleasant détente. Daniel, sensing their attachment to myth, begins to recast himself as a Gandalf like figure, using the language of Tolkien to paint a "rosy picture" of the relocation. It is a clever narrative device that highlights the power of storytelling in bridging the gap between two vastly different worlds.
However, the screenplay is not without its stumbles. The rhythm of the film can feel a bit uneven as it shifts from quirky island life to romantic complications. When Daniel’s arrival sparks new impulses in the siblings, the script takes some unconventional turns, including a "gull initiation ceremony" that feels like it belongs in a much stranger movie. There is also a secondary threat involving a character named Roz (Michelle Gomez) and her hotheaded subordinate Calum, which injects a sudden burst of violence into the narrative. While these moments provide stakes, some may feel that the "cutesy touch" Paxton applies to the material prevents the film from fully exploring the darker, more visceral aspects of the siblings' isolation. The script is at its best when it focuses on the "fear of change" embodied by Isla and Sandy, turning a simple relocation plot into a poignant exploration of human connection.
Acting and Characters: A Showcase of Highland Heart
The true anchor of The Incomer is Gayle Rankin, whose performance as Isla is being widely cited as a "star turn." She brings a fierce, wild energy to the role that is balanced by a deep, underlying vulnerability. Rankin manages to make Isla’s devotion to her father’s eccentric rules feel grounded and rational within her own logic. Her chemistry with Grant O'Rourke, who plays the equally committed Sandy, forms the emotional spine of the film. Together, they portray a bond that is both touching and slightly tragic, as they struggle to reconcile their isolated upbringing with the intrusion of the outside world.
Domhnall Gleeson is perfectly cast as Daniel, the "awkward official" who finds himself completely out of his depth. Gleeson has made a career out of playing "unassuming and playful" characters, and he brings a necessary warmth to a role that could have easily felt like a generic antagonist. His attempts to win over the siblings through roleplay and gentle persuasion provide many of the film’s comedic highlights. The supporting cast is equally strong, with Michelle Gomez providing a sharp, rapacious energy as Roz, representing the modern world’s lack of patience for tradition. The character of Daniel standing up to her feels like a genuine "victory for social justice" in a story that often feels like it is floating in a vacuum.
Direction and Technical Aspects: The Rugged Beauty of the Orkneys
In his directorial debut, Louis Paxton displays a confident, if occasionally overly stylized, vision. He is clearly a filmmaker who loves the Scottish landscape, and he uses the island setting not just as a location, but as a central character. The film is visually stunning, thanks to the work of cinematographer Pat Golan. The camera captures the dramatic cliffs and rolling hills of the Orkney Island with a clarity that emphasizes both the beauty and the harshness of the environment. Whether it is the siblings hunting for gulls or the quiet moments of Daniel painting a future for them, the visual composition is consistently impressive.
Paxton’s direction shines in the late action sequences, where he balances physical comedy with genuine emotion. There is a "hard headbutt" during a botched kiss and an unexpected encounter with a bear that hint at a more subversive comedic sensibility hidden beneath the film’s whimsical surface. However, the film's "full-scale charm offensive" can sometimes feel a bit forced. The production design and editing work together to create a world that feels "designed" to be heartwarming, which may feel a bit "cutesy" for viewers who prefer their Scottish cinema with a bit more grit. Despite this, as a debut feature, The Incomer is an assured piece of work that marks Paxton as a director to watch.
Music and Atmosphere: A Soundscape of Strings and Horns
If there is one aspect of The Incomer that will truly divide audiences, it is the score. The film is saturated with a soundtrack of "plucky strings and horns" that works overtime to establish a lighthearted, quirky mood. For some, this music will enhance the "adult fairy tale" atmosphere, providing a rhythmic heartbeat to the siblings' island activities. It reinforces the idea that we are watching something slightly removed from reality, a fable about the clash of cultures.
However, for others, the score might feel like "a bit much." Critics have noted that the music can be overly insistent, almost demanding that the audience feel "charmed" by every scene. This can occasionally drown out the more "unassuming" nuances of the performances, particularly Gleeson’s more subtle work. The sound design, meanwhile, does a wonderful job of capturing the elemental nature of the island—the wind, the birds, and the crashing waves—which creates a nice contrast with the more ornate musical choices. When the audio allows the island's natural voice to speak, the film acquires a "poignancy" that is far more effective than the overly busy orchestral arrangements.
Strengths and Weaknesses
Strengths:
- Gayle Rankin’s Performance: A powerhouse star turn that carries the film's emotional weight and provides a "wild" authenticity.
- Cinematography: Pat Golan’s breathtaking shots of the Orkney Islands transform the setting into a visceral, beautiful character.
- Original Premise: The "hermit vs. official" dynamic is handled with a unique, "fairy tale" logic that feels fresh for the genre.
- Domhnall Gleeson’s Charm: An unassuming and playful performance that makes the "incomer" a character the audience can genuinely root for.
Weaknesses:
- Oversaturated Score: The "plucky" music can be intrusive, occasionally forcing a whimsical tone that feels at odds with the setting.
- Predictable Structure: The "détente" between the hermits and the official follows a fairly standard narrative arc despite the quirky trappings.
- Excessive Quirkiness: The film leans so heavily into its "charm offensive" that it can occasionally feel "cutesy" or "annoying" to more cynical viewers.
- Tonal Shifts: The sudden intrusion of "violence and hotheaded" characters in the third act feels somewhat disjointed from the earlier whimsical comedy.
Final Verdict: A Charming Departure for Indie Enthusiasts
Rating: 3.5/5 stars
The Incomer is a film that wears its heart on its sleeve, for better or worse. It is a "heartwarming comedy" that manages to touch on some surprisingly deep themes, such as the "fear of change" and the "rapacious nature of the modern world." While it doesn’t always succeed in its attempt to be both a gritty survival story and a whimsical fable, it is elevated by a "full-scale charm" that is hard to entirely resist. It is a confident debut that proves Gayle Rankin is a formidable talent and that the Scottish landscape remains one of cinema's most evocative backdrops.
This film is a perfect match for fans of "quirky indie comedies" and anyone who enjoys "adult fairy tales" like The Hunt for the Wilderpeople. It will likely appeal to those who appreciate "playful, unassuming" performances and stories about the "poignancy of human connection" in isolated places. However, those who are averse to "overly cutesy" storytelling or intrusive, "plucky" musical scores may find the film’s whimsy to be a bit of a "guano pileup." Ultimately, I recommend The Incomer as a visually beautiful and emotionally sincere exploration of what it means to defend one's home in a changing world.
Recommendation: Catch this if you are looking for a "sweet and spirited" Scottish escape with a standout lead performance. Just be prepared for a heavy dose of quirk along the way.
 Movie Review: A Whimsical yet Polarizing Scottish Caper That Reimagines the Hermit Legend Through a Cutesy Lens){kind=link}
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