Hansard (who was also seen as guitarist Outspan Foster in Alan Parker's rousing The Commitments) plays a gifted but insecure folk-rock musician who supplements his meager living as a street performer or "busker" by working in his father's vacuum repair shop. One day, while singing a poignant ballad on a busy Dublin street, he's approached by a lovely young Czech flower seller (musician and Hansard's collaborator Marketa Irglova) who wants to know who broke his heart and inspired the song. He—known only as "guy"—is instantly smitten with the upbeat, luminous, and much-younger woman, while she— "girl" —is attracted to his grand talent and wistful spirit. A tentative friendship begins and they're soon playing beautiful music together—literally, and a bit figuratively—as she reveals herself to be a wonderful pianist and singer. Their first duet, a stirring ballad titled "Falling Slowly" (written by Hansard and Irglova), mirrors what the two are starting to feel for each other in a way that's thoroughly organic. It's a soaring, compellingly shot sequence and the film only gets better from there.

Despite their age and cultural differences, Hansard and Irlova's characters have a lot in common. They're both poor, artistic, deeply sensitive, and live with a parent—he with his grumpy "da," she with her immigrant mother. They're also each nurturing a lost love; he's never gotten over his pretty ex-girlfriend's move to London, while she's in limbo over her estranged husband (and father of her young daughter), who is still in the Czech Republic. Though these romantic problems hold "guy" and "girl" back from acting on their physical attraction, the pair make up for it by stimulating each other creatively. It all leads up to an extremely moving and entertaining recording session that's oddly reminiscent of the sequence in Hustle and Flow when Terrence Howard's DJ lays down the tracks that have been burning inside him forever. The music here is way different, of course, but there's that same palpable sense of accomplishment.

In addition to a soundtrack bursting with splendid songs (most written and performed by Hansard and/or Irglova) unpretentiously woven into the action, Once is filled with a small cast of earthy, highly appealing folks. It's a thoroughly likeable movie in every way, without ever being cloying or sentimental—just honest and totally real. Along with many memorable, heartfelt moments between "guy" and "girl," a touching scene toward the end with "guy" and his old school father is one of the film's best.

It's not often that a movie feels like it's over too soon, but at 88 captivating minutes, this is one of those rare cases. A much-deserved World Audience Award winner at this year's Sundance Film Festival, Once has the potential to be an influential sleeper hit, especially if its outstanding soundtrack can gain traction. I can't wait to see it once again.

— GARY GOLDSTEIN