In one sentence: A man travels from America to Scotland with his family to reconnect with his ailing brother, forcing both to confront the past that drove them apart.

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Some films excel at creating a strong sense of place and Glenrothan is firmly rooted in Scotland. Marking the directorial debut of Brian Cox, the film presents a gentle and reflective drama set against the landscape of his homeland.

The story follows Donal (Alan Cumming) who travels from Chicago to Scotland with his daughter Amy (Alexandra Shipp) and granddaughter Sasha (Alexandra Wilkie) to visit his older brother, Sandy (Brian Cox). The brothers have been estranged for forty years ever since Donal left to build a life of his own. Sandy, in declining health, reaches out in the hope of reconnecting. Their reunion is far from easy as both men are forced to confront the distance that has grown between them and the choices that shaped their lives.

Cox makes full use of the Scottish setting, capturing its beauty with a clear sense of affection. Expansive shots of lochs, mountains and open countryside are woven throughout the film, giving it a strong visual identity. Scotland is not simply a backdrop but a presence within the story. The film also touches on the heritage of whisky distilling, grounding the narrative in an industry that is deeply tied to the country’s cultural identity and economy.

Alan Cumming leads the film with a performance that is understated and grounded. Donal is flawed, shaped by past decisions and unresolved family tensions. As the film progresses, he shifts from a reluctance to confront his past to a sense that he is searching not only for reconciliation with his brother, but also for a connection to the place he left behind. Brian Cox, in contrast, brings a quiet strength to Sandy, portraying a man who has remained rooted, both physically and emotionally. There is a kindness to him but also a clear loneliness, suggesting a life shaped by duty and sacrifice. As he considers stepping back from the distillery, there is a gentle nod to his role in the television series Succession although approached here with far greater softness.

The dynamic between the two brothers forms the emotional core of the film. Their interactions carry both tension and familiarity, reflecting a relationship that has never been resolved. The film captures something recognisable in sibling relationships, showing how patterns of behaviour can resurface regardless of time or distance. This is gently offset by the presence of the younger generation, particularly Sasha, who provides moments of lightness whilst encouraging a different way forward.

Flashbacks are used sparingly to give insight into the brothers’ past, adding context without overwhelming the present day narrative. They help to give context to the emotional distance between them, whilst also exploring Donal’s past relationship with Jess (Shirley Henderson).

Music plays an important role throughout by blending Donal’s connection to blues with traditional Scottish music. This combination reflects his dual identity and adds another layer to his personal journey. Alan Cumming clearly embraces this aspect of the role and the music provides a natural extension of the film’s themes of identity and belonging.

While the narrative follows a familiar path, it remains engaging throughout. Glenrothan is built on atmosphere and emotion. It is a story about family, reconciliation and the pull of home. More than anything, it feels like a reflection of Brian Cox’s love for Scotland with the country itself taking on a role as significant as any of its characters.

★★★ (3/5)