Lou McLoughlan’s 16 YEARS TILL SUMMER tells the story of Uisdean, a former drug addict who was given a life sentence for murder – a crime he claims was a freak accident. After 16 years in prison, Uisdean is released in order to care for his elderly father Callum back in his native Scottish village. The film, which was made over the course of four years, documents Uisdean’s attempts to ingratiate himself back into society: a society that is not always so quick to welcome him. With the help of religion, and the support of his father and his new girlfriend Audrey, Uisdean attempts to turn over a new leaf on the right side of the law.
Back amongst the picturesque beauty of the Scottish highlands, and buoyed by the responsibility of caring for his father, Uisdean appears invigorated at his opportunity for a new life. He talks excitedly and at length of his plans to extend the house and raise sheep and pigs on his father’s land. Both his father and Audrey also appear excited by the fresh start that Uisdean’s return promises. Audrey is unperturbed by Uisdean’s past and opens her life and
home to him, and the relationship that blossoms makes for some of the film’s most captivating moments. However, Uisdean’s return to society is not as smooth as he had hoped it would be, and certain scenes pose the question of whether his troubled past is really behind him.
Though slow paced, this absorbing documentary offers an insightful view into a convict’s quest for redemption. The lack of voice over allows for an intimate gaze into Uisdean’s life in which he tells his own story. The film holds no preconceptions and presents an un-biased viewpoint of the issue, trusting in its central characters and allowing the events to play out un-interrupted. This, like all good documentaries, permits the audience to make up their own mind. 16 YEARS TILL SUMMER tells the human story of redemption and companionship. McLoughlan’s dedication and even handedness towards a subject matter rarely presented is commendable and makes for fascinating viewing.