The debut feature from acclaimed director Mia Hansen-Løve, has finally received a theatrical release in the U.S. after its rapturous reception at the Cannes Film Festival.

Writer-director Mia Hansen-Løve (Father of My Children, Bergman Island) is recognized as one of the brightest talents in contemporary French film for the way she has renewed the tradition of the intimate cinema of ideas and emotions epitomized by auteurs such as Eric Rohmer. While her later films such as Things to Come were widely praised in the United States, her first feature All is Forgiven is only receiving its US release now, many years after its rapturous reception at the Cannes Film Festival.

Hansen-Løve was only 25 when she made All is Forgiven, but it is a surprisingly mature work in which one recognizes her themes—a young woman’s development, precarious family dynamics, the passage of time—and the texture of her images, shaped by a sensitivity to natural light and a keen sense of the frame. The film begins in Vienna in 1995, with Victor (Paul Blain) and Annette (Marie-Christine Friedrich), a Franco-Austrian couple raising their little girl Pamela. Victor adores his wife, but when the family returns to Paris, Victor plunges into drug addiction, as well as self-loathing, and Annette vows never to see him again. A decade later, Pamela, now a beautiful young woman has always wondered why he disappeared, returns to Paris where Victor still resides, opening the door to a possible reconciliation.

In All is Forgiven, Hansen-Løve avoids sentimentality at every turn, presenting her story in fragments consistent with the nature of memory. Her remarkable film is a sensitive chronicle of estrangement, redemption, and the indissoluble parent-child bond, as well as an achingly delicate tale of love, despair, and forgiveness that is carried by beautifully subtle performances.