Comparisons to Atom Egoyan’s The Sweet Hereafter will likely plague Lance Edmands’ Bluebird, thanks to the films’ similar subject matter – both are set in snowy small towns, both center on a tragedy that occurs on a school bus, both find their drama in the aftermath – but Edmands’ new feature quickly finds its own footing and announces the arrival of a talented new independent filmmaker. Bluebird approaches its seemingly familiar plotline with a tighter focus than Egoyan’s, as Edmands spends the majority of his film with school bus driver Lesley (Amy Morton), a kind and well-intentioned woman whose life is destroyed by a minor moment of distraction. During an end-of-shift bus check, a trilling bluebird draws Lesley’s attention away from the task at hand, with the hautning consequences of her bird-watching not revealed until late the next morning. Lesley is, however, not the only person at fault in Bluebird (the accident at the center of the film is a unique and jarring one, and is best revealed within the film), though she is the one most obviously culpable. While Lesley is absorbed with the titular bluebird, across town young Marla (Louisa Krause) is similarly engaged, but with depression, drugs, and drinks. As with Lesley, we do not know the full extent of Marla’s negligence until many hours later. Lesley and Marla’s small, twin mistakes bloom outward, and Bluebird maps the fallout from common missteps in an unforgiving world. It is, simply put, deeply heartbreaking.