Greta Gerwig has previously proved herself as an actor and writer, and now she adds director (Academy-award nominated, I might add) to her skillset. With Lady Bird, she infuses a beautifully observed tale of teenagehood with such heart and humour; it’s hard not to find yourself falling for it.

We encounter the titular Lady Bird (birth name Christine, given name ‘Lady Bird’ – ‘I gave it to myself’, played by Saoirse Ronan) in the last months before she leaves home for college – a pivotal time in any young person’s life. She is applying for colleges, meeting boys and experiencing the tumultuous world of teenage friendships. Behind, and within all of that, she is also navigating a tempestuous relationship with her mother, and searching to find herself within this maze.

This is one of the most accurate teenage films that has been put to screen. Each moment and milestone is smartly observed and brought to life in the most organic-feeling way. The film avoids cheesiness and cliché in favour of a more realistic take that shows the ups and downs for what they are, and doesn’t present the idealized version, as many of its peers do. The film’s strength is also in the fact that it doesn’t condescend towards teens. Lady Bird is painted as a real person, and whilst we see things that we appreciate as being of the ‘silly teenage’ ilk, Gerwig never paints them as such. She draws out the natural humour in certain actions and events, but never too overtly. We are not judgemental observers, we are living this with Lady Bird.

The relationships that the film revolves around are part of what makes it so endearing and relatable. The dynamics between friends and the movement between friendship groups is documented in such a way that whilst Lady Bird may begin to drift away from her truer friendships towards more superficial appearance-based ones, those that are absent from the screen for a segment of the running time don’t feel cut out, and their enduring bond seems to linger under the surface. Gerwig and her actors have crafted a group of truly great characters who each feel as though they have life beyond the confines of the running time. However, underneath, the beating heart that anchors the film is the mother-daughter relationship. It is one of the most realistic and ridiculously identifiable ones committed to screen, and a relationship that’s complexity is often overlooked in cinema. In each scene, the back and forth between the two and their conflicting views and opinions make them one of the most interesting screen pairings we have seen in a while. The emotions are delicately and stunningly observed from reality, and never descend into caricature or stereotype. And, whilst you may relate to and recognise a lot of it, Gerwig keeps these two as their own distinct and complex characters.

Lady Bird, whilst grounded in reality and naturalism, is oftentimes hilarious, and occasionally heartbreaking. Gerwig has masterfully managed a tone that can contain the two without falling out of kilter, or ever feeling uneven. In Gerwig’s recognisable way, there are many laugh out loud moments, but they rarely come from jokes. The humour is found in what is happening on screen and in the witty dialogue spouted by the characters. The film’s pace too never lulls, and keeps the story endlessly engaging; a series of vignettes build to a complex overall story and an emotional, albeit not overwrought, climax.

The entire film is brought to life by some brilliant and delightful performances. At the centre, Ronan is a powerhouse, entirely inhabiting the role of Lady Bird and imbuing her with such inner life that we feel privy to her thoughts and emotions, and are able to climb inside her head. She is a headstrong and individualistic character, who is also fantastically flawed, but Ronan makes those flaws part of her charm, never losing your investment in her. She is paired with a brilliant Laurie Metcalf as her mother, balancing the outwards exasperation and parental firmness with a deep inner love and soft sadness at her daughter’s imminent leaving of the nest. It is this duo of foils that anchors the film at its core, but they are also supported by a wide network of fantastic actors. Each of the other teens, notably Timothée Chalamet (what a year he’s had), Lucas Hedges and Beanie Feldstein, colour the main part of Lady Bird’s school life with variety and vibrancy, each embracing the film’s dramedy-like tone, but maintain that feeling of authenticity that is laced into every moment. Tracy Letts is excellent too as Lady Bird’s father, balancing the home life. The film’s setting, Sacramento, also becomes a character in and of itself, one of the time – 2002 – and a place that allows the film to explore further themes.

This is a wholly original, funny and recognisable tale of growing up that captures an intimate snapshot into an important segment of a young adult’s life. Gripping from its sure-to-be-iconic opening scene, and with such endearing characters and such a brilliantly observed and fully realised story, you’ll have a hard time fighting this one away from your heart.