The debut feature from Ryan Coogler has been the year’s Cinderella story ever since it bowed at Sundance and scooped the Grand Jury Prize, as well as the Audience Award, for U.S. dramatic film. Received in similarly rapturous terms by critics at this week’s Cannes screening, it would not be surprising to many if Fruitvale Station had the chutzpah to carry itself, or at least some of its esteemed performers, all the way to Hollywood’s awards season. It opens with seemingly authentic camera phone footage — perhaps the very same footage that, as we learn at the film’s end titles, incriminated those involved — of 22-year-old Oscar Grant being accosted by two police officers. We know, even if we remain unaware of the resolution, that things are not going to end well. While in many ways Coogler’s film feels very much like the same redemptive gangster drama we’ve seen so many times, the difference here, ostensibly, is that it’s real. Oscar (Michael B. Jordan) wants to stop slinging dope and get a proper job so that he can support his girlfriend and his daughter, but of course he faces professional hurdles that then impinge on his personal life. In fact, it is really only a familiar drama in as much as it features a character trying to extricate himself from less-than-desirable circumstances. It is Coogler’s riveting approach and the spellbinding performances that make it feel so fresh.