The film was adapted from a recent Australian novel, but it’s set as a period drama about a World War I veteran returning home. It feels like the story needed more time to develop before being brought to the screen; some tales benefit from a decade or so of cultural reflection before they're made into movies. The kind of classic feel this film has is what we now consider epic when viewed in cinemas. While it’s good, future adaptations might resonate even better with audiences. From the director and writer of 'The Place Beyond the Pines,' the title offers a glimpse into the story's nature, although the film itself proves to be deeper and emotionally intense. The island setting evoked ‘Song of the Sea,’ though this isn’t a fantasy. Those who appreciate scenic views, especially coastal landscapes, will likely enjoy it. Despite the strong narrative, the backgrounds fade away as your attention focuses on what's happening. For me, the isolated, century-old location felt most striking; it really helped to convey the drama and its message about moral imbalance. Tom Sherbourne, a World War I veteran, returns home and becomes a lighthouse keeper on an isolated island off the west coast of Australia. He marries a woman he instantly loves, and they live far from civilization. Tragedy strikes, impacting their lives one after another. Before fully recovering from that trauma, they find a baby in a lifeboat washed ashore and decide to raise her. Later, when they return to the mainland, they realize their actions are neither legally nor morally justifiable. The film then explores how this affects their trust and where the story leads. > ❝You only have to forgive once. To resent, you have to do it all day, every day.❞ Although the book is modern, the storytelling feels very traditional – in its plot development, character arcs, and conclusion. Those familiar with older works might anticipate certain elements, not necessarily the entire film, but some initial scenes can be predicted. This felt like a minor flaw; while these developments are sometimes coincidental, their frequency suggests intentionality. Eliminating them would have been impossible, as they were essential to the narrative's progression, though it could have stretched out with unnecessary details. I didn’t mind the familiar tropes. It was a fine drama with magnificent performances from Michael Fassbender and Alicia Vikander, and even Rachel Weisz in her supporting role; I thought all three deserved Oscar consideration. The cast, locations, screenplay, and score were all excellent. Sadly, the film wasn't well-received, particularly by some critics. However, regular moviegoers, especially older and more mature audiences, seem to appreciate it more. It’s not quite on par with ‘Pride and Prejudice’ for a family audience, and the events and outcome could be easily misinterpreted. The story is grounded in reality, so right and wrong exist within its world rather than being judgments about the filmmaking itself, which I thought was well done. The scene before the end credits was particularly effective; that kind of ending suits this type of tale. Despite lacking an uplifting storyline, the film’s portrayal felt poetic, largely due to the slow pacing, emotional depth, and frequent moments without dialogue. The length wasn't a problem for those who enjoy period dramas, and it remained consistently engaging. I believe this is one of the most underrated films of the year; it deserves greater recognition. If you haven’t seen it, I recommend it, especially if you are over thirty. _8/10_

Source on TMDB