Some independent films stand out because of one specific narrative thread, or particularly memorable character moments, but 500 Miles does something a little more special. It not only feels not only like a smart and bittersweet tale, but it’s also a beautiful example of an ensemble piece of filmmaking, in a pure sense of how it all comes together.

While I didn’t know the source material – it’s based on the book Charlie and Me: 421 Miles from Home by Mark Lowery – I think that’s the best way to enter the story, with little knowledge of the wider tale. With a screenplay from Malcolm Campbell and Morgan Matthews on directorial duties, the film follows the trials and tribulations of a family dealing with the outcome of a life-changing occurrence, and their expedition through it.

And the story wastes no time in pushing us along, with an opening scene plus voiceover from Roman Griffin Davis’ Finn, as we look back at a happy family holiday in Dingle, Ireland. We witness his Grandfather John (Bill Nighy) and Nana Molly (Deirdre Monaghan), who live on the Emerald Isle, plus his younger brother Charlie (Dexter Sol Ansell), and parents Jules (Clare Dunne) and Dan (Michael Socha) having a fine day out on the beach. This offers a hint of joy, until after Finn comments that it’s the happiest he’s ever been, and then concludes with “I supposed I thought it’d always be like that.”

From this, we jump forward to a more sombre scene, there’s clearly family issues, a possible separation and the brothers listening to the arguments. And then, to throw in extra drama, we head back to Ireland but now the beach setting is stormier, and Bill Nighy’s John is standing on the edge of the cliff outside his mobile home, looking unusually dishevelled and mournfully into the ocean below. Something major has happened, but we’re not sure what at this stage.

On the back of this, it’s revealed that Jules isn’t taking calls from her father John (Nighy), which adds to the severely of the unsettled household, and with that, Finn quickly decides that he must see his grandfather. That morning, he slips out of the bathroom window, with younger brother Charlie (Ansell), and they have just enough money to find their way from Sheffield to Manchester, and then onto a coach that’ll take them out of Holyhead on the ferry and to Dublin, with the intention of getting to Dingle, on the West Coast of Ireland, to see their grandfather – a journey of nearly 500 miles in total.

Along the way they meet Maisie Williams’ lovely Kait, who’s in the middle of her own escape act, but will help the brothers get to where they need to be, with an occasional Ukelele and a song as well. Williams is hugely likeable and brings a needed central focus to the journey as they travel through the hills, lakes, and mists of Ireland. It’s a gentle tale that skips along quite effortlessly – with minor peril – but also is overall full of dry humour, genuine Irish moments and hits of a coming-of-age setup. Everyone has simple desires, and they’re trying to find their way in the world, making connections, and moving on down the road like a human The Littlest Hobo.

Without giving too much away, the film is told in a non-linear fashion, flashing back and forward with some brilliant editorial work from Rebecca Lloyd, merging scenes from their life before an event and to the present. Each character is warm to embrace, with young Charlie (Ansell) being born prematurely and making up for it with high energy and quick wit, and everyone else’s place being fleshed out as the story progresses. Roman Griffin Davis is excellent, he’s a natural actor and Finn is easy-going and conflicted, and you believe him. He echoes Asa Butterfield somewhat, which is interesting as the latter starred in the brilliant X+Y (also known as A Brilliant Young Mind), also directed by Morgan Matthews.

As initially mentioned, what makes this piece particularly durable is the make-up both in front and behind of its creation, as the cinematography breathes in the fresh Irish air, the southwestern coast, and the wide country vistas. With these visuals, it blends pieces of traditional Irish music that are often entwined with new compositions from Atli Örvarsson and Jamie Duffy, with the latter’s piano pieces certainly standing out.

As a whole, 500 Miles just sits on the right side of sentimentality, and mainly because of its onscreen honesty. It also offers an emotional maturity, from the consolidation of regret and forgiveness, through to a lovely, if bittersweet, heartbreaking and poignant journey that embraces the depths of strength within a communal human spirit.

500 Miles is in Irish cinemas now, and UK cinemas from 26 June