Working in his native Colorado, as he did in his memorable debut feature, A Love Song, Max Walker-Silverman again conjures a potent visual language from the landscape in Rebuilding. And, again, the writer-director places a halting love story at the center of his film. This time, though, the rural vista is scarred by a devastating wildfire, and it isn’t sweethearts separated by time who become reacquainted but a father and his young daughter, separated by divorce.

That father is an unmoored cowboy named Dusty, trying to figure out what comes next after the flames have destroyed his ranch, the place that defines him. The wrenching heart of this quiet drama, he’s played with eloquent understatement by Josh O’Connor, delivering the latest in a remarkable string of performances, and one that’s matched beat for poignant beat by the other members of the central cast.

Notwithstanding the eerie timeliness of the movie, arriving as Los Angeles is reeling from disastrous conflagrations, this is a work whose riches transcend topicality. With his understanding of and affection for the hardy inhabitants of the mountainous American West, Walker-Silverman brings a new and tender radiance to the idea of regional filmmaking, along with an awareness of outworn stereotypes. Upending clichés about rugged individualism, Rebuilding looks toward a communal vision of courageousness and reinvention, a way to move forward without negating the past — especially when the remnants of that past have been reduced to ash.

Reteaming with cinematographer Alfonso Herrera Salcedo, Walker-Silverman wields an elegant shorthand, beginning with the ominous beauty of embers against a night sky. Cutting from that opening image to a ghostly scorched forest of leafless trees, Rebuilding delves straight into Dusty’s limbo, beginning with the auction of the cattle his charred land can no longer sustain. The editing, by Jane Rizzo and Ramzi Bashour, is finely attuned to the straightforward, crystalline lensing and the story’s often wordless poignancy. And the acoustic score by Jake Xerxes Fussell and James Elkington is in sync with the interplay of dialogue and loaded silences, and well abetted by the occasional strains of country on the radio of Dusty’s truck. (A John Prine tune caps things off in the perfect key.)

Having kicked around here and there for a couple of months after the fire, Dusty is the last arrival at a mini-village of FEMA trailers arranged on a remote scrap of land. Alone in the narrow interior of his new home with the few boxes that hold his remaining earthly possessions, he jumps in his truck to escape the aching silence, arriving at a cheery clapboard house in town. Its kid-friendly yard clutter and warm interior (outstanding work by production designer Juliana Barreto Barreto) are an antidote to the sudden, awful emptiness of Dusty’s days. This is the home of his former mother-in-law, Bess (Any Madigan), and it’s where his ex, Ruby (Meghann Fahy), is raising their 9-year-old daughter, Callie-Rose (Lily LaTorre).

Ruby is surprised to see him, but doesn’t waste the opportunity to enlist him in some parenting. Without spelling it out in conversation, this narrative sequence makes clear, in Ruby’s almost angry decisiveness, Callie-Rose’s shyness bordering on detachment, and Dusty’s awkward hesitation, that he hasn’t been a steady part of his little girl’s life for a while. LaTorre, who starred opposite Sarah Snook in Run Rabbit Run, is captivating, conveying her character’s perceptiveness as well as the observational knack she’s inherited from her mother. “Mom says you didn’t apply yourself,” she informs her dad, who takes the judgment good-naturedly even as he feels the sting. Sometimes, clearly, his daughter’s intelligence intimidates him.

For Callie-Rose, whose guardedness soon gives way to infatuation, there’s an unmistakable gift in her father’s calamity: He’s released from the chores that claimed all his waking hours. The cowboy stuff that once put him at a distance is now a source of fascination and a way of connecting. In an especially lovely scene, he teaches her to saddle his horse, being housed for now by a fellow rancher (Dwight Mondragon). Dusty’s trailer-park life is no less an adventure for his daughter. She makes a new friend (Zeilyanna Martinez), a tween girl whose father died in the wildfire, and together they plant a firmament of glow-in-the-dark stars on the drab walls of Dusty’s trailer, interrupting his despair with magic.

Callie-Rose helps to draw her father into this new community, a place he initially regards as a mere way station, a blip on the road back to the life he’s always known. But that road is not as direct as he envisions it. A man of few words, Dusty is most animated when talking about rebuilding the ranch that has been in his family for four generations. You can see his dream of that yearned-for return shatter, and his soul sink, as he takes in the crushing advice of a loan officer (Jefferson Mays) at the local bank.

The people Dusty at first views as “not real neighbors anyway” quickly become a family of sorts, sharing meals and memories of the things they lost in the fire. With the exception of Mali, a heroically even-keeled widow played by Kali Reis, of True Detective, the roles of Dusty’s fellow survivors are handled by first-time screen actors, including the accomplished musician Binky Griptite. Most of them have a few moments of character-sketch screen time, but, more to Walker-Silverman’s point, they stand collectively in calm, sturdy rebuke to the notion, long endorsed by Hollywood, of a homogenous rural America. (Another Sundance selection this year, the South Dakota-set East of Wall, offers its own cliché-busting picture of the West.)

Dusty’s new neighbors include a lesbian couple (Nancy Morlan and Kathy Rose), a biracial couple (Biptite and Jeanine London), an affable plumber (David Bright) and a man of the woods (Christopher Young) who maintains a friendly distance. Mainly they’re emblems, here not to complicate the story but to provide a composite portrait of kindness and resilience. (The most glaringly underdeveloped role in the drama belongs to Ruby’s partner, Robbie, an amenable guitar-strumming fellow played by Sam Engbring.)

In the presence of his fellow FEMA tenants, Dusty is at first like a forlorn big kid, slouching slightly as if to minimize his towering frame, thrusting his normally hardworking, newly idle hands into his jeans pockets, and, yes, occasionally helping himself to one of his daughter’s juice boxes. But beneath the lost, juvenile aura are questions of legacy and a keen awareness of the life he’s inherited — not an easy one, as the dates on his parents’ headstones in the family plot attest.

The matter of rootedness is addressed head-on when Callie-Rose goes to work on a family tree, presumably for school. As the girl, her parents and grandmother sit around a table filled with names and photographs, what might have been merely literal in lesser hands unfurls with a powerful current of love beneath its minimal dialogue.

Fahy, infusing her atypical role with an earthy grace, delivers a couple of the movie’s most affecting passages, the language’s simplicity matched by the emotions’ enormity. And Madigan’s modest directness lays a foundation for the drama in a way that’s so masterful in its subtlety, you’d be tempted to call it sleight of hand.

On the face of it, Dusty is a role that might seem a stretch even for shapeshifter O’Connor, who in a few short years has traveled a path of electrifying versatility, beginning with God’s Own Country and his star-making turn on The Crown, and on through such diverse terrain as Mothering Sunday, La Chimera and Challengers. But the British actor is compelling from first moment to last, fully inhabiting the character’s pain and confusion as well as his essential optimism.

Everyone in Rebuilding is sincere, honest and caring, and nothing is overplayed — including the bashful love that blossoms between Dusty and Callie-Rose and is the engine of the story. As this exceptionally quiet movie unfolds, there are moments when you might wish for more friction, more heat, like the healthy dashes of hot sauce with which Madigan’s character doses the scrambled eggs she serves her granddaughter. But Walker-Silverman is a filmmaker who doesn’t hew to formulaic arcs, and it would be a mistake to interpret quietness as tranquility or ease. Something more complex and rewarding than surface tension is at play here, and it builds to a conclusion of breathtaking openheartedness. Sometimes a blip on the road is magic in disguise, the root of a dazzling new constellation.