Thirty-something Los Angeles transsexual Bree receives a unexpected plea for help from the son she didn’t know existed in Duncan Tucker’s moving Transamerica; a film that posits the radical movie notion an adult transsexual can be happy, content, conservative and lead a productive life. As Bree, Felicity Huffman ("Desperate Housewives") gives as full a performance as seen this year, on par with Hilary Swank’s gender-bending work in Boys Don’t Cry.

What’s so miraculous about this compact little road movie is how absolutely comfortable and dignified Bree is, unusual for such a character who more often than not must be tortured to exist in an American film. Bree is an educated person of strong moral fabric, a woman (or virtually so) of a certain age making ends meet waiting tables and telemarketing. She doesn’t want much out of life other than to feel comfortable in her own skin. On the verge of her gender reassignment operation, a sympathetic therapist (Elizabeth Pena) legally mandates that she make peace with her son before her full conversion takes place. Under the guise of a benevolent missionary, Bree travels to New York, secret in tow, beginning a process of mutual discovery with the coke-sniffing, prostitute teen (expertly played by a striking Kevin Zegers) who returns west with her in search of a porn career. Things become complicated when the car, money and hormones go missing, and Bree’s two identities converge during an unexpected family visit.

Writer/director Duncan Tucker expertly crafts his coming together of two very different people—a reluctant mother and son who lie their way to a deeper truth—in a series of highly original interactions, the most striking of which has confused teen Toby trying to seduce Bree, who must rebuff his sexual advances—while he has no clue she is actually his biological father. Graham Greene also turns up as a compassionate soul who sees Bree’s special beauty, and there’s a gravity to his deliberate underplaying that’s subtle and moving. Theirs is a soul-connection, a saving grace to down-on-her luck Bree at her lowest moment.

This is an actor’s film and the two leads are terrific, as is Fionnula Flanagan as Bree’s controlling matron mother. It’s an undiluted independent film that took a big risk—a lead character you’ve never seen before—and reveals a generous worldview of messy lives, bolstered by unexpected circumstance.