The Incomer pairs quirky, unexpected comedy with the wild landscapes of remote Scotland in an endearing debut. While there were plenty of laughs to be had at the Astor Theatre during its screening as part of the Melbourne International Film Festival, it ultimately fails to commit enough to either farce or sensitivity and thus, occasionally falls short of its comedic potential.

Stories have a crucial role in human history—from teaching survival skills to creating a sense of belonging. The Incomer, beneath its humorously overblown characters and absurd situational irony, has something deeper to say about the stories we tell and why. The film opens with the voice of Isla (Gayle Rankin) narrating the story of her and her brother Sandy (Grant O’Rourke), who, aggressively self-sufficient, have spent three decades out of contact with the detested “mainland”. As a result of their extreme isolation, the siblings’ bewildering behaviours immediately establish the humour of the film: snatching gulls mid-flight for food, pummelling punching bags labelled “incomer” and screeching like seabirds themselves. Animated sequences in a hand-drawn style illustrate parts of the story, adding a very human and distinctly childlike quality to their deep suspicion of the world beyond the fictional Auk Island. It becomes clear that only Isla and Sandy remain loyal to their father’s isolationist doctrine when they narrate their community’s gradual decline due to the allure of the mainland. 

Isla and Sandy’s fringe existence starkly contrasts that of socially awkward mainlander Daniel (Domhnall Gleeson), who arrives on the island to evict the siblings on behalf of the Northeastern Scottish Council, setting an unexpected and at times ridiculous series of events in motion. Gleeson and Rankin shine in their respective quirky roles, and their attempts to bridge their vastly different experiences is delightful to watch. O’Rourke too elicits affection as the emotional and childlike—although full grown and bearded—Sandy. 

However, the film walks a fine line between creating comedic situations and mocking the islanders for their ignorance. On the few occasions it teeters into the latter, the humour falls flat, particularly in relation to their sexual naivety.

Director Louis Paxton’s folktale inspiration is clear through minor characters and stylistic form. John Hannah plays a seal-like, yet disturbingly humanoid, Fin Man, whose attempts to lure Isla into the water provide a reminder of Scotland’s traditional mythology. With the film established as a fable of its own, the soundtrack perfectly complements the off-beat narrative. Folky tunes and discordant Celtic percussion and fiddle capture the character of the island. The Scottish wilderness is brought to life by sweeping camera work that reveals the expansive ruggedness of the setting, and the comparative isolation of its human inhabitants. Despite the potential for these aspects to add a certain melancholy, its earthy colour palette and lively characters maintain the film’s warmth.

While it took some time to adjust to the unusual tone, it really hits its stride in the latter half where the growing bond between Daniel and his “hosts” brings both emotion and tension to the fore. Isla’s inner conflict between the allure of the mainland and her duty to her father’s stories adds a crucial emotional layer, while Daniel’s gradual surrender to the madness of the world around him has a transformative effect in its own right. Although stories have value in providing escape from the difficulties of life, they can be problematic when used to shield the truth. The Incomer suggests that connection between people and their stories can both create a sense of belonging and provide enlightenment.

The characters’ journey from tolerance to friendship is reminiscent of another landscape driven off-beat comedy—the acclaimed Kiwi comedy Hunt for the Wilderpeople—with which Paxton’s film shares a certain dead-pan delivery, Lord of the Rings references and even an unhinged survivalist in the style of “Psycho Sam”. Where Waititi’s film holds both devastating moments and quick humour at once, The Incomer too often cuts short its emotional moments with cheap gags and innuendo that take a viewer out of its immersive world.

While we are told the stories that prevent the siblings from venturing outward, the stakes are never truly raised, and as a result, it reduces itself down to bawdy humour and a somewhat insincere conclusion that undermines the deeper narrative it touches upon.

The film offers a delightfully weird portrait of wild Scotland and its inhabitants, with quirky comedy and a whimsical folk style that can be easily enjoyed by suspending expectations. As a “modern fairytale” it doesn’t quite fully commit to its moral core, yet remains a charming exploration of isolation and what this means for human connection.

THE INCOMER screened as a part of the 74^th edition of the Melbourne International Film Festival.