Omaha

A humble marvel, Omaha introduces a filmmaker with a privileged sensibility to translate these opposing forces into a tapestry of scenes imbued with loving compassion for the characters experiencing them.

A model of tone, concision, and emotional and psychological insight, led by a staggering performance from John Magara and an equally moving one from pint-sized co-star Molly Belle Wright.

Magaro, never allowed to explain his character, does a terrific job with internalised anguish, keeping it in check so it’s a presence in the car but not one which prevents him demonstrating his love for his kids, over and over again, in whatever way he can.

Although Omaha is powerful and ultimately depressing as all hell, there is a faint, faint, faint glimmer of hope. If not for the world around us, at least for the people in it.

Quiet and heartbreaking, if not slightly conventional, Omaha unfolds like a slow-burning mystery.

While the drama depicts a situation most parents would find unthinkable, it does so with unfailing compassion and sensitivity.

It’s an altogether promising debut for Webley and should-be breakout for the young Wright, who makes you believe that though this film may ultimately fail to distinguish itself from the many tight, slight dramas at Sundance, Ella will always be remembered.