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.
