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With naturalistic honesty, Ozerov and Gordon tap into their characters’ insecurities and sexuality (because, duh, teens). But Bezmozgis delves deeper than pubescent angst, exploring the immigrant experience through family dynamics, dinner-table debates about the Israeli-Palestinian conflict, and old-country dreams.

The real draw of Natasha is without a doubt its young, charismatic lead Gordon, who portrays an emotionally tarnished young woman’s complex journey with a cool kind of unaffectedness. She effortlessly brings out the best and most mysterious in Bezmozgis’ unassuming little film.

A pair of rich central performances, an authentic eye for its second-generation immigrant milieu and a novelist’s comfort with ambiguity allow Natasha to modestly transcend its overpopulated genre.

Natasha is, in fact, a deceptive and delicate coming-of-age piece – deceptive because it exposes a troubling underside, delicate because it does so with a measured and quiet intelligence.

Bezmozgis, whose previous feature was 2009's Victoria Day, is more assured as a writer than filmmaker, with Natasha featuring a bland visual and editing style. But he's elicited fine performances from the ensemble.

Mr. Bezmozgis creates a disturbing portrait of a girl turned calculating and nihilistic by her upbringing, and there is no coyness here.