John Crowley's "Brooklyn" does not portray any of the migrants in Europe or the undocumented Mexicans in the U.S. In fact, it shows a young Irish girl heading over to the U.S, with full documentation and work in place, in the 1950s. Yet, what this film is able to capture at its core certainly serves to highlight the current global topic. For, in its intimate sphere, the film encapsulates the pain of leaving home and being alone in a vast new world where comforts of work and finance are not enough to find happiness.

The film, written by Nick Hornby and based on the novel by Colm Toibin, tells the story of Eilis (Saoirse Ronan) a meek and humble Irish girl sent off to Brooklyn by her beloved sister Rose (Fiona Glascott). Eilis is far from the belle of the ball in Ireland and her trip to the U.S. does not immediately change that. In fact, she remains as awkward as ever, irritating her department store boss. She is afraid of her new life, home sick to be reunited with her loving sister and mother.

Yet her life takes a turn when she meets Tony (Emory Cohen), a rash Italian boy who treats her with genuine respect. They slowly fall in love with each other and Eilis grows into her life in New York.

Yet when disaster strikes, taking away her supposedly ill sister, Eilis is forced to return to her hometown. Tony asks her to marry him and she accepts.

Then her life takes another turn in Ireland. Now a social butterfly, she draws the attractions of numerous people, most notably eligible bachelor Jim Farrell (Domhnall Gleeson) with whom she also forms a relationship.

The film retains an understated touch throughout, the drama building from the audience's understanding of the events rather than any unwieldy confrontations (though there is one; more on it later). We understand Eilis' conflict in Ireland because we know of her relationship back home. And yet, the audience grows to feel with her, accepting her relationship with Jim in the same way that it has with Tony. In fact, watching this film presents Eilis' same quandary for the viewer -- which guy represents her true happiness?

Both men ultimately embody their two homes. In NY, she has the brash and adventurous Tony who is always there to pick her up from class. On the other hand, Jim understands her in a way that Tony seemingly never will. He respects her need for distance yet, through him, she can connect with the loving sister that she will never see again. We see the home that she would inhabit with him while Tony only shows her a field of grass with nothing yet constructed. Her future in Brooklyn is in many ways more uncertain than what awaits her in Ireland should she choose to stay. It is interesting to note that she herself seems unsure about her choice to the very end and some reversals of scenes in each section bear this out. During a dinner scene with Tony's family, she seems annoyed by his referencing their children (they have just started dating). Later on, when she is having tea with Jim and his parents, she herself unexpected mentions that she does not expect him to be lonely for too long. We see Eilis and Jim at a wedding together, but never actually see her marriage with Tony. It is an interesting inversion, suggesting Eilis' insecurity in a future with Tony while showing her subconsciously preparing to commit to a man she has known for a short while.

If the film suffers any missteps, it is in the two melodramatic turns that it takes to put Eilis in her predicaments. For a film that revolves around subtle transitions, it is rather frustrating to see its two major transitions (the middle and end) rely on external forces to push Eilis in one direction or another. The death of her sister comes out of nowhere for both characters and audience, turning the film from a quiet romance into full-blown tragedy. That one can be forgiven however.

The final twist (which would require major spoilers) is the more disheartening one. It involves a character that really serves no other function as well as coincidence to make its mark. The bigger issue with this twist however is how it forces Eilis to deal with her issues. We feel her problem developing throughout the final 30 minutes of the movie and know that she must make a decision. We expect her to come to terms, mature and then take the decisive step. But it never comes. At least not from her internal struggle. Instead it is imposed upon the character by an external force and a lot of coincidence, a rather disappointing denouement for a film that relied on gradual progressions instead of sudden implosions. While Eilis ultimately does come to terms with her conflict, this seems like a rather manipulative way to unravel the mounting tension.

For years, Ronan has built a resume, transitioning from the sneaky child to "Atonement" to a curious teen in "Hanna," "The Grand Budapest Hotel" and "Byzantium." "Brooklyn" marks her transition into a mature adult actress, her turn here devastating in equal measure. Her lush green eyes have always been expressive, but never to this degree. Just one look at her eyes and the entire depth of Eilis' emotions are revealed to the audience. It surely helps that Crowley shoots her in gorgeous close-ups throughout, keeping the audience close to her on this impactful journey. Moreover, her nuanced turn has Eilis transition from a quiet and vulnerable girl into a refreshed and confident woman throughout the two-hour running time.

As her co-stars both Cohen and Gleeson provide terrific support. Cohen is the obvious standout, getting a lot more screen time than his "rival." In his previous star turn in "The Place Beyond the Pines," he was vulgar and violent. In this role, there is a cocksure quality mixed in with some insecurity that mixes well with Eilis' own meek nature. Gleeson is also quite reserved in his portrayal, yet expresses a passionate and excited nature during his conversations with Eilis.

Julie Walters makes a delicious appearance as Madge Kehoe, the woman who hosts Eilis during her stay. Walters delivers every line with such bravado that the audience can do nothing but laugh with hilarity every single time. Jim Broadbent makes a tranquil appearance as Father Flood while James DiGiacomo steals his two scenes as Tony's brother Frankie.

The cinematography, costume design and music deserve their own mentions as well. Director of Photography Yves Belanger crafts one gorgeous image after another, keeping the audience close to Eilis throughout her journey. Early on in the film, the camera holds on her as she watches her best friend Nancy dance. The camera lingers on her longing facing, almost creating the expectation that she will get her moment as well. But it never comes and the camera's long hold extends this moment and her pain of waiting. As Eilis enters through the immigration doors, the lights from outdoors remain blinding, keeping the world awaiting Eilis a mystery while enveloping her. Wide shots of her with Tony on Long Island retain a pastoral feeling, yet there is a massive emptiness that suggests the uncertainty of their future. This is mirrored in another angle in which she looks out on the beach with Jim, remembering the beauty of the location. In both scenes we eventually get a two shot of the characters, though Jim and Eilis are on the same visual plane in their shot while Tony and Eilis remain on separate ones in their images.

The costume design by Odile Dicks-Mireaux takes Eilis from a girl in darker and drab colors (she wears a green dress to a party) to one sporting far brighter ones that stand out against the rugged Irish landscape.

Finally Michael Brook's music retains a romantic quality filled with soothing melodies that suggest Ireland without fully reverting to folk tunes or clichés. The music perhaps plays the most crucial role in maintaining a nostalgic tone throughout, expressing the longing and pain of separation from home.

"Brooklyn" will make you cry. It is the kind of movie filled with melancholy that anyone leaving home can fully understand. It is a movie about the passage into full-blown adulthood and the coming to terms with one's identity. There might some disappointments in the film, but they are microscopic compared to the glorious acting and filmmaking on display.