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We've seen most of Nia DaCosta's "Little Woods" before: people living life on the margins, struggling to get by and doing anything to make ends meet for the sake of themselves and their families. Usually, the characters are destructive, knowingly doing what's wrong in order to make things right. There's not much deviation from convention here, but DaCosta infuses her screenplay with enough social relevancy and urgency to make for a modestly compelling feature debut.

Set in North Dakota, "Little Woods" has a tangible, rough-hewn atmosphere that helps us feel the desperation of the characters. Ollie (Tessa Thompson, "Creed II") has recently been released on probation after spending time in prison for selling prescription drugs, and is reconnected with her estranged sister Deb (Lily James, "Mamma Mia! Here We Go Again") when their mother passes away. Deb is in a bit of a crisis of her own; she is pregnant with her second child and unsure if she wants to keep the baby. She knows her ex (James Badge Dale, "Hold the Dark") won't be much help and she can't afford to have another child, so her options seem rather limited.

Ollie is determined to finish her probation and leave her small town behind for greener pastures but feels she needs to help Deb, who is on the verge of losing her home. Ultimately, Ollie is drawn back into her old life, selling OxyContin to residents to make a quick buck. She figures she can make enough money to buy their mother's house, then Deb and her son can live there and Ollie can finally leave town.

The plot points and beats that "Little Woods" hits are well-trod territory, but DaCosta's screenplay has a little bit more on its mind than other movies of its kind. Though her film never feels like an indictment - but maybe could have benefited from a little more rage - DaCosta tackles healthcare and the opioid crisis in our country, positioning the characters at the crossroads of these two hot-button issues. "Little Woods" doesn't preach, it simply informs and shows us how everyday people are affected by such matters.

Thompson is commanding, and her rapport with James makes the film's journey worth being on. As sisters, they sometimes feel like strangers, but there's an undeniable bond connecting them. That's the most honest aspect of the screenplay, which shows the lengths family members will go to in order to protect one of their own.

As a calling card, "Little Woods" is a good example of the great things DaCosta can do and will do with future projects. She has already caught the attention of Jordan Peele, who picked her to helm the "Candyman" remake. Something tells me her work will continue to catch people's attention.