There are all sorts of ways to approach a coming-of-age drama on film, and the history of cinema is stacked with examples of the form that accentuate the devastation of childhood innocence knocked asunder. In her feature debut, Good One, writer-director India Donaldson opts for lean, patiently restrained storytelling that makes the moments of harsh realization all the more powerful. In the film, Sam (Lily Collias) is a teenaged girl who goes on a camping trip with her father (James Le Gros) and his longtime friend (Danny McCarthy). The two dudes bond in the messy manner that indicates years of mutually excused bad behavior, mostly harmless male doltishness. Sam is simultaneously included and held just outside their bubble until one night after her father had boozily retreated to his sleeping bag and the campfire conversation between Sam and her father’s pal takes an uncomfortable turn. The simmering brilliance of Donaldson’s film is that the overture offered in crackling light is merely the preamble to the disappointment of Sam’s father’s reaction the next day, which is simultaneously a smaller infraction and yet far, far worse. Donaldson delivers all this with an emotionally acute clarity and quiet assurance that recalls the work of the great Kelly Reichardt and any number of justly revered indie-auteur ancestors. The film doesn’t just tell its story; it immerses the viewer in it so completely that a viewer might be tempted to check their heels for hike-developed callouses as the closing credits roll. Donaldson declares herself a major talent with with Good One, one whose compass is especially true.