Audacity doesn’t need a big budget to be fully-realized, and no one knows this better than Brett Haley, the director of some illuminating independent comedies, such I’ll See You in My Dreams and The Hero, as well as the subject of this review, Hearts Beat Loud. A gentle, unassuming and heartwarming project, this film is the representative of everything that sets independent cinema apart from the mainstream – it features a simple story, lacks cliche and manages to convey certain emotions that are often lost in big blockbusters in the chase of the almighty dollar. Not to disparage mainstream films, but Hearts Beat Loud is the kind of film that makes me love cinema even more – and it has managed, through its preppy, good-hearted nature, to sky-rocket into the best films of the year. Perhaps not overly original, but having audacity and quirkiness to spare, Hearts Beat Loud is a very special film, and a great example of why we should continue to give platforms to new, exciting voices in the arts, because sometimes they can occasionally produce such an exquisite work that defies expectations and result in an idiosyncratic, lovable diversion from reality.

Frank Fisher (Nick Offerman) owns a record store, which isn’t doing too well anymore, especially considering the era of the “mom-and-pop stores” is declining in favour of big industry. He used to be a musician in a band with his wife, that had died twelve years earlier in an unfortunate accident. As a result, he was left the sole parent of his daughter, Sam (Kiersy Clemons), who shows herself to be exceptionally intelligent, and is bound for great things, setting her sights firmly on becoming a doctor, which means she needs to move across the country, leaving her father. Frank tries to hold onto what time he and his daughter have together by engaging in the one activity they both love (even if she won’t admit it) – making music. An impromptu jam session results in a stroke of genius, with the recording of the titular song, “Hearts Beat Loud”, which Frank posts on Spotify on an impulse. Unbeknownst to him, there is a massive market for new indie musicians, and their song goes viral (as much as an independent pop song on Spotify can go viral), which only causes them to want to make more music – but Sam’s departure is looming, and Frank realizes that once she’s gone, these moments won’t exist anymore. They both try and make the best of their time together as a band, but know that what they are holding onto isn’t merely the experience of making music together, but something far deeper.

There are a great number of things I liked about Hearts Beat Loud – the soundtrack (composed by the brilliant Keegan DeWitt), the sweet-natured tone, but most of all: the gravitas and the honesty. From the outset, we start to expect a very different kind of film – once the duo makes their song and it goes viral, one would naturally expect some huge explosion of fame, where they seemingly abandon all their pre-existing priorities and venture off into the world of music, experiencing the trial and tribulations of debut artists. Yet, the film never resorts to this narrative cliche – it has been seen a number of times, and while it can make for riveting cinema, it isn’t necessary here, because the actual approach to the film is far more effective. Haley keeps the film undeniably human, grounding it in reality and using the making of a popular song not as the impetus for the rest of the story, but rather the background of a far more profound theme, a family drama that uses music – the universal language – to communicate important, often heart-wrenchingly sad but ultimately poetic experiences. Hearts Beat Loud is, more often than not, a poignant and moving experience that is passionate and beautifully authentic.

A big part of the success of Hearts Beat Loud comes on behalf of the cast.  Nick Offerman is rapidly becoming one of the most reliable character actors working today, and whether it be his iconic and frequently-iconic performance as Ron Swanson in Parks and Recreation or his numerous supporting roles in a range of independent comedies, his career is consistent and he is always terrific. Hearts Beat Loud gives him one of his first leading roles in a film, and he is as terrific as you’d expect. He shows unexpected depth with his performance, playing the father who is juggling a range of emotions – lasting grief from the death of his wife, his own faded dreams of music stardom, the imminent closing of his record store with his no longer profitable, and the biggest quandary of all: his daughter, who he adores, and cannot bear to have taken away from him, even if it is beneficial to her future. He tries to keep his intentions concealed, but they trickle through in his small actions, and his daughter realizes that he doesn’t merely want to be in a band with her – he wants to relish every moment he has left with her. Offerman is absolutely tremendous in Hearts Beat Loud, giving a truly impressive performance, demonstrating range and versatility as a performer that I am sure very few of us realized he had in him. A good-natured everyman, Offerman excels in this role and proves that he is capable of far more than just scene-stealing supporting roles and that he can command the screen with perfect ease.

Hearts Beat Loud is essentially a two-hander, and as good as Offerman is, a large part of the film (perhaps the most significant part) rests on the shoulders of Kiersy Clemons. Let me be honest and proclaim that there are young performers who you can instantly tell are going to excel in the industry, and the moment Clemons appeared in 2015’s Dope, I knew she’d become one of the most magnetic, endearing young performers of her generation. She has done a few projects since there, but she hits her highest notes with Hearts Beat Loud, as the conflicted daughter caught between the warm but overly-comfortable world of her childhood and the uncertainty of her future. She develops into her own person, intent on forging her own path, and her willful, independent assertiveness is a welcome change from the typical indie comedy hero, who is normally unsure and indecisive. She navigates a hostile world, coming to terms with her future and realizing her dreams, as well as proudly proclaiming her identity (Hearts Beat Loud is secretly one of the most effective queer-themed films of the year, and my only criticism of this film is that it could’ve explored this concept in a bit more depth). Clemons is an astonishing performance, having the capacity to convey such natural emotional depth, with her undeniable charisma shining through at every possible moment. The two leads have remarkable chemistry, and they portray the bond with such effortless brilliance. Hearts Beat Loud also has great supporting performances from wonderful Ted Danson, the ever-lovely Blythe Danner, rising star Sasha Lane and Toni Collette, probably independent cinema’s most valuable performer. As someone who loves a great cast, Hearts Beat Loud provides this in abundance, and each one of them gives terrific performances.

More than anything else, Hearts Beat Loud is a very simple film that has such profound thematic depth. It explores a panoply of themes that are relatable to many of us, and through its lighthearted, good-natured execution, it looks at important issues with poignant humour. I think everyone will find something in this film that will evoke melancholy in some way – anyone who has lost someone close to us, or felt the uncertainty of the future, or questioned our identity or just felt the bittersweet ache of a place called home, whether it be the memories of our childhood in a small neighbourhood, or our families, who often can be both our biggest supporters and most insurmountable obstacles. Yet, if there is one theme that strikes particularly strong throughout Hearts Beat Loud, it would be that of parenthood. In many ways, this film is a beautiful ode to the inextricable bond between parent and child and taking the form of a father-daughter story, it is able to look at a set of trials and tribulations any such relationship has to go through – conflict, uncertainty and the fear of growing up are central to this film, and the two leads are remarkable of bringing reality to this resonant concept.

Hearts Beat Loud is a captivating film that grabs the audience by the heartstrings and takes us on a heartbreaking and poignant, but ultimately genuinely warm, laugh-filled journey through life and its various challenges. Nick Offerman and Kiersy Clemons make one of this year’s most dynamic on-screen duos, and the original music is absolutely astonishing and is worth the price of admission alone, once again proving Keegan DeWitt as one of the finest musicians working today. A tender, hilarious and meaningful film, Hearts Beat Loud is most certainly one of the year’s best surprises, an authentic and touching musical comedy. Sincere, passionate and beautifully-made, Hearts Beat Loud represents independent cinema at its very best – earnest and honest, and utterly mesmerizing with its vibrant exuberance. A film about vulnerable people navigating various quandaries, it will hopefully strike a chord with everyone in some way. Hearts Beat Loud is a true gem, a pleasantly calm and deeply profound film, it leaves quite an impression, and lingers on, bringing a smile to the face of the viewer when they least expect it, long after having seen it. It is the kind of film that leaves one feeling oddly optimistic, which is something I think everyone needs nowadays. To put it reductively, Hearts Beat Loud leaves one feeling good – and that’s more than enough to justify this as one of the year’s best films.