Dublin Film Festival 2026: Rebuilding

Introspective and disarming, with nuanced performances, Rebuilding is a wonderfully magnetic piece starring Josh O’Connor and Lily LaTorre as a father and daughter navigating life after a tragic wildfire destroys their home. The event devastates other families too, and Dusty (O’Connor) finds himself in temporary trailer accommodation alongside fellow victims, surrounded by a community shaped by love and loss. His daughter, Callie-Rose (LaTorre), lives with her mother, and this quieter turn in his life offers him a chance to reconnect with her. Rebuilding is a film about family, belonging, and what it truly means to find a home.

The picture’s premise thrives on its simplicity; its strength lies in the relationships that blossom between the characters, most notably between Dusty and Callie-Rose. What initially feels like a series of cold, awkward interactions between a distant parent and child gradually develops into something warm, tender, and deeply understanding. This is beautifully conveyed by the two leads, with O’Connor’s closed-off, internalised struggle complementing LaTorre’s inquisitive gaze and open curiosity. They are well supported by Meghann Fahy’s Ruby, Callie-Rose’s mother, and Amy Madigan as Ruby’s mother, Bess, whose presence adds an extra layer of emotional weight. The wider ensemble reinforces the idea of a found family, with fellow fire victims welcoming Dusty and Callie-Rose with open arms and shared late-night dinners under the stars. Dusty, who initially struggles to ask for help, slowly begins to lean on those around him.

Beyond its quietly uplifting narrative, Max Walker-Silverman’s feature also captivates through its cinematic attention to landscape and nature. Wide shots emphasise the vastness of the land, filled with lush colour and effervescent beauty, while diegetic sounds—running water, howling wind, crackling fire—ground the film in its elemental world. This focus evokes a haunting sense of loneliness, particularly in Dusty, who often appears as though he is facing the vastness of the world alone. Visual symmetry underscores the emotional distance between Dusty and Callie-Rose early on, often placing them back-to-back before gradually bringing them closer together, until they stand side by side. These shifts are especially evident in quieter moments—by his pick-up truck, helping with homework, or gazing together at the glow-in-the-dark stars on the trailer walls. Small as they are within the scale of their loss, these moments subtly and effectively chart the growing bond between father and daughter, deepening the impact of the late-emerging conflict.

Rebuilding is not without its flaws. At times, the ADR feels uneven, and the sentimental score is occasionally undermined by inconsistent sound mixing. While these elements slightly diminish the overall experience, they do little to detract from the film’s emotional core. Ultimately, Rebuilding retains its charm through its sincerity, its themes, and the strength of its performances.