Timothy David’s debut feature, “Kangaroo Island,” is reminiscent of Jason Reitman’s 2011 film, “Young Adult.” Reitman’s film revolves around a YA novel ghostwriter who tries to rekindle her past as she starts to lose hope in her future. David’s film follows a protagonist at a similar point in her life, stuck in a rut, struggling to move on from her upsetting, partially embarrassing past. So, she returns home to find some calm when it feels like her life is falling apart.

It leads her into unavoidable complications, some of which are nearly identical to those in Diablo Cody’s script for Reitman’s film. The 2011 film was not the first project to use these tropes, which have now become clichés in similar dramas that capture rejuvenation and thoughtful reflection in late-coming-of-age tales. Yet, it was one of the only films to address them from a female perspective, exploring how a woman deals with her personal or professional failings while going through a rough patch.

It’s a fairly relatable premise for many who find themselves in a similar cycle of shame or embarrassment and struggle to find a way out. So, what “Kangaroo Island” lacks in novelty, it could have made up for it with a moving riff on all its cliches. It manages to be that in parts, but falls short when it relies on some cloying stylistic choices.

Written by Sally Gifford, the script follows a chapter in a woman’s life when she returns to her hometown. The protagonist, Lou (Rebecca Breeds), is a down-on-her-luck actress who has made LA her new home. Originally from a small Australian town, she doesn’t seem particularly ambitious.

Her lack of focus costs her a job on the same day she stands to lose her apartment. While on a downward spiral, she impulsively decides to go back home. In part, it’s her running away from her problems, but her return doesn’t seem like a magical solution to her worries either.

A still from “Kangaroo Island” (2024) She seems apprehensive about everything she would have to face when she steps back into that world. As soon as she arrives on the island, painful memories start flooding her mind. Her father, Rory (Erik Thomson), seems to be a warm presence in her life, and so does her sister, Freya (Adelaide Clemens).

Yet, she isn’t at peace. And it’s not only about Freya being far more religious than she remembers her being, or Rory being pleasantly surprised by her return. There’s more to her underlying misery than the trivial concerns of modesty or composure.

While in LA, Lou seems far more lively and sociable than on the island, where her reactions seem relatively muted. She still speaks her mind and doesn’t shy away from sharing her qualms, but she holds back when someone brings up her past, whether on the island or in Hollywood. So, the film relies on the emotional weight of these revelations on her present life.

Gifford’s script doesn’t take Lou to any surprisingly new directions in that regard. It doesn’t offer any culturally specific insight into her life, either, apart from the locals expecting her to have a career as prosperous as Cate Blanchett’s simply by virtue of her working in Hollywood. Yet, there’s little that separates the plot from similar dramas that map out this painful stage in someone’s life.

The film still excels in its understated everyday moments that subtly affect the character development. It might be something as simple as Lou worrying about a kangaroo lying on the side of the road or riffing with her family about faith and religion to make a point. Still, these moments reveal more about her interiority than the conventional beats.

Overall, it seems like the kind of film that means to offer a sense of catharsis through the character’s emotional growth. Yet, it fails to reach that emotional high because it doesn’t settle into a single narrative tone. Another still from “Kangaroo Island” (2024) The film starts on an upbeat note, exploring Lou’s work and relationship in a rather playful tone.

Then, once she’s on the plane, it becomes far more somber, hinting at some upsetting details about her past. Eventually, on the island, it dials down the drama during its lighthearted or contemplative moments. Breeds’ performance is consistently impressive across the board, but it doesn’t suffice as the inconsistent directorial tone dulls the impact.

The film also overuses its sentimental score even when the performances are emphatic enough to leave the desired mark. Breeds’ performance is the film’s highlight, apart from Adelaide Clemens, who conveys the complexity of Freya’s investment in faith often through moments that don’t directly address it. Breeds captures Lou’s emotionally volatile character with contrasting traits, who often seems like an open book despite holding on to some secrets.

While revealing Lou’s impulsive nature, Breeds never loses sight of the emotional roots of her behavior, letting her supposed carelessness never feel unfounded. Gifford’s script handles the darkest spots in Lou and Freya