To say that the subject matter of Lucky is poignant would be an understatement, but it is a subtle, kind, and fitting farewell to the late, great, Harry Dean Stanton.

Lucky tells the story of its title character (Harry Dean Stanton) as he contemplates ageing, death, and what comes after it. Shaken by a fall that has no reason apart from simply being elderly, Lucky realises his time on earth is running out, leading to a series of funny yet immensely touching moments with the locals in town. Going about his day, Lucky starts off with a small workout and a walk around town, all whilst puffing on a cigarette and having a few too many sugars in his coffee. He is a normal older man – this is not a story like Breathe, where someone at the peak is taken down – this is an average life which makes it all the more relatable.

Lucky's crossword puzzles and word of the day guide us through the story, and present deep philosophical musings, such as REALISM being personal experience and acceptance of the world. However no one's realism is the same, everything is perceived differently. TRUTH is certainty, it is what we all experience no matter who you are, and it is universal.

The point of the film is this truth – we all die, and its likely nothing (or, as the film calls it, “Ungatz”, which is Italian American slang for nothing) happens afterwards. Who better to lead the charming ensemble than the most human and universal of actors, Harry Dean Stanton - a man whose eyes carry the look of 1000 lifetimes, all played out before us. With his recent passing, the film steps outside itself, here we have a man considering his fate, and losing his fear of death, but for real. Stanton often performs monologues on his feelings within the film, which seem to reach deep into the soul of the viewer. His final performance is his best since Paris, Texas – which is paid homage to in the barren desert landscapes and small town sensibilities that appear throughout the film.

Stanton's good friend David Lynch stars alongside him, providing much needed comic relief as Howie, a fellow resident of the town whose tortoise President Roosevelt has gone missing. The tortoise represents a loss of time, as Howie recognises his disappearance as Roosevelt starting a new chapter of his life – he has got another 100 years left in him after all. Lynch's casting doesn't feel gimmicky, and his close bond with Stanton is evident – it's truly touching to witness such good friends come to terms with life, and its end.

For John Carroll Lynch (no relation to David) to have gone from acting to directing such a wonderfully crafted and touching film is nothing short of amazing. This is the work of someone with a heart, and a talent for drawing viewers in emotionally. I cannot wait to see what he has to offer next, as this debut has the nuance of a director who has been at it for years.

With perfectly timed comedy, stunning cinematography, countless tearjerking scenes, and a single shot that I will never forget – Lucky is a reminder that we, even a screen legend such as Harry Dean Stanton, are all “ungatz”.