--- title: "The Incomer" year: 2026 kind: "film" canonical: "https://film.one/film/the-incomer" fi1m_id: "the-incomer" imdb_id: "tt36980182" tmdb_id: 1554956 wikidata_id: "Q133163344" fi1m_score: 72 critics_score: 68 critics_reviews: 14 published: "2026-09-14" updated: "2026-09-18T08:38:22.999542+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # The Incomer (2026) Directed by Louis Paxton · 1h 42m · MPA R · Comedy, Drama ## Identity The Incomer - **Canonical:** https://film.one/film/the-incomer - **Type:** Film - **Fi1m ID:** the-incomer - **IMDb ID:** tt36980182 - **TMDB ID:** 1554956 - **Wikidata ID:** Q133163344 - **Same entity:** https://www.imdb.com/title/tt36980182/, https://www.themoviedb.org/movie/1554956, https://www.wikidata.org/wiki/Q133163344 **Fi1m score: 72** · Critics 68 from 14 reviews *In a sentence:* Three people on a remote island, and being introduced is already asking rather a lot > A likeable island comedy with three fine central performances and a weakness for laboured eccentricity. Louis Paxton gives loneliness and belonging some welcome attention, even when the jokes depend too heavily on the islanders being peculiar. ## Synopsis Daniel (Domhnall Gleeson) encounters siblings Isla (Gayle Rankin) and Sandy (Grant O’Rourke) on a remote Scottish island. Their lives revolve around traditions and a degree of isolation that makes an outsider’s presence difficult to accommodate. Daniel and the siblings approach living alongside other people from different starting points, with loneliness and resistance to change complicating their encounters. For Isla and Sandy, folklore helps explain the place they inhabit. Combining live action with animation, this comedy-drama follows the uneasy contact between a visitor and people whose attachment to their own way of life gives them little reason to embrace his. ## Review Louis Paxton’s *The Incomer* is a likeable comedy held together by three actors who know how far to push it. Its remote Scottish island and reclusive siblings offer plenty of opportunities for an outsider to be made uncomfortable. Paxton, who also writes, wants to let the odd behaviour be funny without dismissing the people responsible for it. He mostly manages that, though his fondness for their peculiarities sometimes outlasts the joke. Domhnall Gleeson plays Daniel, the visitor, with enough charm to give us someone to follow into this unfamiliar company. Gayle Rankin’s Isla and Grant O’Rourke’s Sandy are siblings whose isolation has made ordinary social contact complicated. The three performances work because nobody treats the others as an excuse for a solo comic turn. Gleeson allows awkwardness to linger, O’Rourke helps make the sibling bond convincing, and Rankin supplies the unruly physical comedy. We laughed at Rankin’s fierceness, because she makes the siblings’ resistance to change look like exhausting physical work. Pat Golan’s cinematography gives the rough island landscape enough attention to explain why people might feel attached to it. The place matters to the comedy: solitude here is attractive enough that the visitor cannot simply be assumed to know better. Production designers Arthur de Borman and Kezia Eales contribute to that appeal, making the islanders’ attachment to their surroundings credible. The animated passages give the folklore a different visual form, although the changes between animation and live action occasionally feel like another invitation to admire how unusual the film is. Tom Kingston’s music gives the landscape a useful sense of exposure, helping the island feel less comfortable than a picturesque comedy might suggest. Brian Philip Davis’s editing lets some comic exchanges linger beyond the point at which we have understood the joke. At 102 minutes, this is hardly an ordeal, but some stretches feel longer than their comic material warrants. Paxton could have cut a few reminders of just how differently these people live. The weaker jokes depend on the siblings not knowing what other people take for granted. A little of that establishes their isolation; too much makes them convenient targets, which sits awkwardly with Paxton’s affection for them. It also means that a film interested in loneliness occasionally settles for pointing out unusual behaviour and waiting for a laugh. The actors keep finding small signs of vulnerability, but the writing does not always give them enough to work with. Within the familiar comedy of an outsider meeting a close community, Paxton’s useful choice is to allow discomfort on both sides. Daniel does not automatically know better, and the siblings’ attachment to their traditions deserves more than indulgent amusement. The film is at its most persuasive when the actors let the loneliness behind those habits become apparent. That gives the gentler scenes enough weight to survive the occasional lapse into cuteness. Give it an evening if difficult company and island folklore sound promising, but expect to wait through a few jokes that the cast deserved to have rewritten. *Fi1m score 72, published 14 September 2026.* ## What the critics say Most critics respond warmly to The Incomer’s oddball Scottish fable, finding humour and feeling in its account of isolation, belonging and resistance to change. Praise centres on the three leads, with Gayle Rankin’s performance as Isla drawing particular attention for its physical comedy and emotional range. The remote island setting, landscape photography and animated sequences also win approval. For the favourable reviews, the eccentricity leaves enough space for the characters’ loneliness and growing affection to matter. The main disagreement is over how much whimsy the comedy can bear. Even several admirers find it too twee at times, while some note stretches that drag or lose momentum. The spread is wide: The Guardian finds the quirky humour consistently unfunny and obscuring any insight into human connection. The Hollywood Reporter likewise finds the comedy abrasive, though it recognises poignancy in Gleeson’s performance and the treatment of change. ## Straight answers **Is The Incomer worth watching?** *The Incomer* is worth an evening for anyone who enjoys an outsider meeting a close, awkward community, and we scored it 72. Domhnall Gleeson, Gayle Rankin and Grant O'Rourke give three fine performances, and Louis Paxton takes loneliness seriously. Expect a few jokes that lean too hard on the islanders being peculiar, and some scenes that run past their punchline. **How long is The Incomer, and what is it rated?** *The Incomer* runs 1h 42m and is rated R by the MPA in the US. It is a comedy and drama film. **Where can I watch The Incomer in the US?** *The Incomer* is not on any streaming or rental service in the US at the moment. It is available in 2 other countries; change your country at the top of the page to see where. Availability is checked daily. **How violent or frightening is The Incomer, and is it suitable for children?** *The Incomer* carries a 15 certificate in the UK and an R in the US, so it is not intended for children, though the review notes nothing violent or frightening in it. It is a comedy-drama about awkward company, resistance to change and island folklore, told partly in animation. Older teenagers who can sit with slow, uncomfortable humour should be fine; younger children will find little for them. **How does The Incomer compare to Local Hero?** *The Incomer* and [*Local Hero*](https://film.one/film/local-hero) both send an outsider into a Scottish coastal community, and Bill Forsyth's earlier film is the better of the two, with quieter jokes and sharper observation. Both share a fondness for eccentricity that occasionally softens what they are saying. Choose *Local Hero* for gentleness and precision; choose *The Incomer* if you want three strong central performances and a franker look at loneliness. **What should I watch after The Incomer?** After *The Incomer*, try [*Local Hero*](https://film.one/film/local-hero) (1983, Fi1m 86): Another outsider meets a coastal community, with quieter jokes and sharper observation. Then [*Hunt for the Wilderpeople*](https://film.one/film/hunt-for-the-wilderpeople) (2016, Fi1m 82): Prickly characters negotiate unwanted company, while the landscape refuses to be background. ### Reviews we read (14) - **RogerEbert.com**, Brian Tallerico (80/100, inferred): Louis Paxton's debut is a delightful, funny, weird, and even a bit moving film with broad appeal. It singles out Gayle Rankin's spectacular performance as Isla for praise. [Read](https://www.rogerebert.com/festivals/sundance-2026-i-want-your-sex-the-incomer-paralyzed-by-hope-the-maria-bamford-story) - **Slant Magazine**, Justin Clark (80/100, inferred): The critic describes the film as a quirky, ultimately heartwarming seaside fable that balances absurdity with respect for the characters' traditions, praising the lead performances for their commitment and range. [Read](https://www.slantmagazine.com/film/the-incomer-review-domhnall-gleeson-gayle-rankin/) - **Time Out**, Stephen A Russell (4/5): The critic calls the film a furiously funny piece of Scottish folklore with a delightfully dotty tone and a Lanthimos-like twist on its Celtic spirit. They single out the strong physical comedy, memorable performances (especially Gayle Rankin’s wild turn), inventive costumes and animation sequences, and the striking use of Highlands locations for praise. [Read](https://www.timeout.com/movies/the-incomer-review-2026) - **The Observer**, Wendy Ide (75/100, inferred): The critic calls it a droll first feature that is an intriguingly oddball proposition living by its own unconventional rules, mixing live action with animation and gentle humour with savagery. It occasionally veers too close to handwoven whimsy but remains compelling. [Read](https://observer.co.uk/culture/film/article/film-reviews-the-incomer) - **Variety**, Tomris Laffly (75/100, inferred): The film is too twee at times but remains winsome and disarmingly good-natured, earning a heartwarming finale. It singles out Gayle Rankin's magnificently layered portrayal of Isla for praise. [Read](https://variety.com/2026/film/reviews/the-incomer-review-louis-paxton-1236654104/) - **Screen Daily** (70/100, inferred): The critic describes an intriguing debut that makes effective use of its remote island setting and strong performances from the leads, evolving into a charming regional human drama despite some overly whimsical moments. They single out the impressive sense of place, elemental soundtrack and cinematography capturing the rugged landscape for praise. [Read](https://www.screendaily.com/reviews/the-incomer-review-domhnall-gleeson-seeks-common-ground-in-quirky-scottish-comedy/5212885.article) - **The Guardian** (35/100, inferred): The critic finds the film overly twee and consistently unfunny, with quirky weirdness burying any insights into human connection or modern life. Gleeson provides some charm as the outsider, but the siblings' ignorance gags and cutesy elements dominate. [Read](https://www.theguardian.com/film/2026/jan/24/the-incomer-review-domhnall-gleeson-tries-to-lift-aggressively-quirky-comedy) - **The Hollywood Reporter**, David Rooney (30/100, inferred): The critic finds the comedy abrasively unfunny and twee, criticizing the quirkiness and whimsy as overwhelming, but notes some poignancy in Gleeson's performance and the theme of change. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/the-incomer-review-domhnall-gleeson-gayle-rankin-1236481776/) - **The Wrap** (80/100, inferred): Paxton's feature debut is a charming, cozy fish-out-of-water comedy blending oddball mythology, deadpan humor, and themes of grief and resistance to change on a remote Scottish isle. The well-oiled trio of Rankin, O’Rourke, and Gleeson drives the conflicts with hilarious chemistry while delivering valuable lessons between the reclusive siblings and the outsider. [Read](https://www.thewrap.com/creative-content/movies/the-incomer-review-domhnall-gleeson/) - **The Playlist**, Marshall Shaffer (B): The review describes it as a fun adult fairy tale with delightful performances, especially from Gleeson and O’Rourke, praising the sincere spirit of belonging and hope over fear, though noting it runs out of steam and leans twee at times. [Read](https://theplaylist.net/the-incomer-review-domhnall-gleeson-and-gayle-rankin-lead-a-fun-fairy-tale-for-adults-sundance-20260123/) - **Eye for Film**, Jeremy Mathews (75/100, inferred): The critic praises the film's whimsical take on isolation and sibling dynamics, highlighting the charming animated sequences and strong performances, while noting it opens discussions on societal living and loneliness. They single out the warm relationships and humorous elements for praise. [Read](https://www.eyeforfilm.co.uk/review/the-incomer-2026-film-review-by-jeremy-mathews) - **Collider**, Therese Lacson (7/10): The critic finds the film a quirky, funny, and over-the-top comedy balanced with charm and earnestness that will leave viewers giggling. The standout element praised is the charming and unique performances from the three leads, particularly Gayle Rankin's layered portrayal of Isla. [Read](https://collider.com/the-incomer-review-domhnall-gleeson-sundance/) - **Deadline**, Damon Wise (65/100, inferred): The film is a mild folk-horror comedy riffing on Local Hero and The League of Gentlemen, fitting into Sundance's World Dramatic Competition with eccentric characters on a remote Scottish island. It pulls together in the end thanks to the core trio's performances, addressing a dark well of sadness with an upbeat, emotional note despite frequent silliness. [Read](https://deadline.com/2026/01/the-incomer-review-louis-paxton-domhnall-gleeson-1236692432/) - **The Skinny**, Stefania Sarrubba (★★★): The critic finds Louis Paxton’s debut a poignant if at times twee fable of culture clashes and belonging, anchored by charming central performances especially Gayle Rankin’s feral energy. It offers childlike wonder and quirks but its quaintness and occasional dragging sequences may not suit everyone, yet ultimately succeeds as a headstrong folktale with humour and heart. [Read](https://www.theskinny.co.uk/film/new-releases/the-incomer-review) ## Details - **Director:** Louis Paxton - **Director:** Louis Paxton - **Writer:** Louis Paxton - **Cinematography:** Pat Golan - **Editor:** Brian Philip Davis - **Music:** Tom Kingston - **Production design:** Arthur de Borman, Kezia Eales - **Producer:** Shirley O'Connor, Emily Gotto - **Cast:** Domhnall Gleeson as Daniel; Gayle Rankin as Isla; Grant O'Rourke as Sandy; Emun Elliott as Calum; Michelle Gomez as Roz; John Hannah as Fin Man/Father; Adam McNamara as Tam; Neil Bratchpiece as Gav - **Runtime:** 1h 42m - **Certificate (MPA):** R - **Release (the US):** 25 September 2026 - **Genres:** Comedy, Drama - **Trailer:** https://www.youtube.com/watch?v=vJ6TSvmnUEE ## Where to watch in the US Not streaming, renting or buying in the US at the last check. Also available in: GB, IE. Add `?region=XX` to this URL for another country. ## If you liked this - *Local Hero* (1983), Fi1m 86: Another outsider meets a coastal community, with quieter jokes and sharper observation. — [Fi1m page](https://film.one/film/local-hero.md) - *The Secret of Roan Inish* (1994): Folklore and island life taken seriously, without squeezing the wonder out. - *Kitchen Stories* (2003): A study of solitude whose dry comedy grows through reluctant companionship. - *The Man Without a Past* (2002): Displaced people find company, with deadpan humour and little patience for sentimentality. - *Hunt for the Wilderpeople* (2016), Fi1m 82: Prickly characters negotiate unwanted company, while the landscape refuses to be background. — [Fi1m page](https://film.one/film/hunt-for-the-wilderpeople.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-incomer