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Thankfully, “Learning to Drive” doesn’t treat Darwan as an Other whose sole purpose is to forward Wendy’s plotline. Equal time is given to his life, forming a counterpoint to Wendy’s experiences. He’s seen praying at temple, interacting with other Sikhs and taking care of his nephew, whom he promised his sister he’d look after in America. When his sister selects Jasleen (Sarita Choudhury)  as Darwan’s bride and sends her to America, “Learning to Drive” takes the time to show scenes of her struggles to adapt to American life and a husband who’s far from forthcoming about his emotions.

This is the rare film written, directed and edited by women. Writer Sarah Kenochan based her screenplay on an article in the New Yorker. Director Isabel Coixet reteams with her “Elegy” co-stars, placing them in areas of New York City rarely seen onscreen. The borough of Queens hasn’t had this loving a shout-out since “Coming to America”.  And Thelma Schoonmaker takes a break from the frenetic world of Martin Scorsese to lend her editing skills to this low-budget indie feature. Her work is especially noticeable in the film’s short, beautiful wedding sequence.

“Learning to Drive” proves that good acting can elevate even the most standard material. Clarkson makes Wendy more than a wronged wife; she has enough self-awareness to consider that she may not be completely blameless in her crumbling marriage. Her anger and melancholy are balanced with a dry wit that yields some big laughs. Kingsley complements her by giving Darwan a sweet vulnerability underneath his authoritative exterior. Thanks to their performances, Darwan and Wendy remain likable despite their occasional self-absorption.

This film is a little too on-the-nose in its automobile-as-freedom metaphors, but that didn’t hurt my enjoyment. I found myself rooting for this small, quiet dramedy to succeed. For the most part, it does just fine. 

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