I'm not aware of Fitzmaurice's cultural background: judging his first feature film on the basis of the level of theoretical depth that it (apparently) expresses would be consequently unfair. But "My name is Emily" - as far as we know - is one of the most elegant examples of complex theoretic inclusions within a classic drama movie format.

Film language is quite complex with its multimedia semiotics: it's hard to find mainstream films with both an attention to deep conceptual problems and some "watchability" value (no, I wouldn't consider Matrix an example...). This is of course not due to the lack of great writers/directors but to the nature of the language itself which is in some sense too rich, redundant and ambiguous: life-like.

So here we have a sort of meta-allegory of Plato's cavern allegory (and its social consequences) which doesn't sound boring or book-like, involves likable characters and has a solid plot. Furthermore photography depicts charming corners of Ireland and the actors did an honest job.

However all in all the film feels weak, not enough daring (and caring) and with too many unnecessary minutes here and there: lots and lots of details that sound rushed or amateurish.

The writer (and director) has for sure something interesting to say but despite its merits "My name is Emily" is quite forgettable.

There's a poetry to My Name is Emily. Not just in the words - it permeates the imagery and music as well. That should come as no surprise to anyone familiar with Simon Fitzmaurice's work - his short films won all around them, lauded as lyrical and beautiful. His stream-of-consciousness film-making evokes a response on myriad levels - visually, musically, emotionally - and My Name is Emily succeeds on all fronts.

Emily, played beautifully by Evanna Lynch, is a troubled soul - deep and considered and stubbornly beyond conformity. She is wounded, armored and iron-strong. Arden, played with great charm by newcomer George Webster, is similarly bruised, but meets his own challenges with an infectious wit and enthusiasm. He hides his own pain under bravado, to a degree, and his inherent optimism and seize-the-day attitude are a perfect counterpoint to Emily's initial introspection. Their growth as characters as they journey across Ireland builds in an organic and believable way, gradually revealing themselves to each other, and in turn, the audience.

To call this movie a road trip is a little reductive - it is, for all intents and purposes, but the journey Simon so wonderfully evokes is through an emotional landscape as well as a physical one.

Parents loom large for both these characters, in different ways. Emily's father Robert is written across every aspect of her life. Their history together has forged her, left her vulnerable, searching for answers. Michael Smiley delivers a nuanced and powerful performance as Robert - a broken man, gradually remade through love and forgiveness.

Simon finds humor and pathos throughout, delicately balanced against themes of loss and redemption. He adds richness and texture in deft strokes, letting peripheral characters shine in fleeting moments - Arden's Granny, full of wit and wisdom, Emily's foster parents, crippled by their earnest middle-class nicety.

Emily's pain and loss simmer, fathoms deep, etched across every subtle expression. Lynch plays it flat at first, closed and impenetrable, but gradually opens up as the movie progresses. It's wonderful to see Emily start to smile and laugh, to watch her being freed as Arden helps her come out of herself, out of her pain. My Name is Emily is a poem about love and loss, darkness and light and everything in between.

Wordsworth abandoned the woman he loved because he couldn't stand up to the public opinions, conservatives and morality police of his day. Emily, an insightful teenager in the present day, does not want to be in pain like he was. Her motto, like that of her father, is that if you hide from death, you hide from life. Because of Emily's uncommon insight and wisdom, she is isolated from her classmates. She is labeled as a freak. So she doesn't have much to lose by leaving them. With the help a similarly isolated young man, Emily goes on a quest to find answers regarding the forced transfer of her beloved father to a mental institution.

The young pair travels through the countryside, camps along seashores and beneath the stars, and beholds rainbows. The film is a tad predictable and could be more powerful and better acted and organized, yet despite such drawbacks it has a powerful story. This, the story, weighs most heavily for me when I rate films. I just love Emily's philosophy about living life to its fullest, or, as Emily puts it, "life happens fast, like mountains that appear in the background, and suddenly you are in them." Seen at the Toronto International Film Festival 2015.