Oren Moverman, originally from Israel, co-wrote I’m Not There, the Todd Haynes biography of Bob Dylan — so it’s no surprise that his first feature as writer-director is one of the best new American films of the year so far.

Will Montgomery (Ben Foster) has been invalided out of active service in Iraq and asked to take on a job no one wants. He is to join Tony Stone (Woody Harrelson), a more experienced soldier, in the unenviable task of informing relatives that their loved ones have been killed in action. The rules are strict: they must go by the book, show sympathy but not undue emotion, and tell the distraught that the military will ring them later to give them any help they need.

The best part of Moverman’s film shows the pair on their tragic errands. A black American mother collapses in front of them when she hears of the death of her son, a father (Steve Buscemi), found in his garden, swears at them in uncontrolled fury and a young wife (Samantha Morton) bites back her emotions enough to shake their hands and say “thank you”. Psychologically, the film is true enough to life to make you want to turn away.

The rest of The Messenger, though still impressive, largely because both Foster and Harrelson maintain its tension so well, becomes a more familiar buddy movie. Harrelson’s senior soldier is an alcoholic who no longer drinks and hates the job but goes about it with a strict adherence to the rules — and gradually makes friends with Foster’s more educated and sympathetic veteran.

We know that Foster’s character has lost his childhood girl to another man while he was away and sees in Morton’s fragile young wife someone he might just possibly cleave to, despite her grief. Harrelson’s tough guy sees women merely as bed partners and complains that the prostitutes who followed the Army round in Vietnam and the first Gulf War disappeared during the second Iraq invasion because of the religious beliefs of the occupied people.

In the end, something valuable is worked out between the two. But not before we are not so gently taught to understand the soldiers, their families and even war itself. This is a well-made, sensitive and thoughtful film that touches a chord of truth not often seen in American films.
The Berlin Film Festival runs until 15 February. Information: www.berlinale.de