Greta Gerwig’s Lady Bird belongs to the half-generation, where it almost feels as if not enough time has passed to recall and look back on the year 2002. Yet as a first-time filmmaker, Gerwig most impressively (aided by an already well-established acting and writing resume) achieves something very special in her film. As part of a new wave of filmmaking, the director and principle lead (Saoirse Ronan as Lady Bird McPherson) breathe so fluently as one in an honest, personal experience. It doesn’t matter that 2002 wasn’t so long ago. It is brought so lovingly to life by Gerwig.

The film, full of awkward and clumsy lifelike cadences, gets absolutely right the angst and manneristic comedy of late teenage adolescence. Ironically, in Lady Bird’s search for her own original voice, there is something rather unoriginal and familiar within every frame. Gerwig has found an immaculate beauty in this, however. Semi-autobiographical in nature, the writer-director does not steer away from the film’s grace notes, most of which follow a plot we already know and have possibly even seen before. Fearlessly, she finds peace and ease with this story, told simply true and well.

Ronan is simply magnificent as Lady Bird, who captures Gerwig’s own onscreen mannerisms while remaining authentic. Laurie Metcalf is also note-perfect as her equally strong-willed, independent mother, whose occasional harshness is only a product of love and the best of hope for her daughter. Truly, the entire ensemble lends a hand to how we feel and get to know this film.

Only due to some sexual content and language can Dove not approve Lady Bird. But for finding such a true, courageous voice, Gerwig’s film is one of the most enjoyable to see in cinemas now.