On paper, Lauren Meyering’s debut feature “Horsegirls” sounds like it was made in a 2000s indie movie lab: it features a quirky heroine with a unique hobby, a loved one with a devastating illness, and the formation of an unlikely community that rallies around our protagonist and her dream. But surprise, surprise, the story of “Horsegirls” is inspired by a true story, one close to writer/director Meyering, who based the film on her family friends Mackenzie and Sandra Breeden (the film is dedicated to Sandra and Mackenzie serves as a producer). Sometimes real life can be the realest indie movie of them all.

“Horsegirls” might also read on paper as far too sentimental and sickly sweet, but Meyering’s thoughtful direction and star Lillian Carrier’s performance keep it from tipping too far in that direction. Carrier stars as Margarita, a young woman with autism who lives with her mother Sandy (Gretchen Mol). The pair are inseparable, with Margarita accompanying her mother to chemotherapy treatments, and their own special celebration rituals involving karaoke and appetizer combo platters.

Sandy desperately wants Margarita to get a job, but her first steps toward independence come when she spies a hobby horse rehearsal and becomes fixated on joining. If you’re unfamiliar with “hobby horse,” it’s a sport originating from Finland that’s growing in popularity. It involves a choreographed routine involving elements of gymnastics and dressage performed while using a “hobby horse” — a stuffed horse head on a stick.

For Margarita, who loves horses but isn’t allowed to interact with them due to her mother’s safety fears, it seems the perfect solution, and she persists, despite the clique-ish mean girl behavior from the younger participants. The coach (Jerod Haynes) sees her determination and encourages her participation, so she gets the job at a Halloween store to pay for it, but keeps it a secret from Sandy. As it turns out, both mother and daughter are keeping secrets from each other.

While the plot unfolds in a fairly predictable manner, it’s the character of Margarita who keeps us on our toes. Carrier, who also has autism, brings an inherent authenticity to the role, as well as a sense of good humor that draws people to Margarita, a character who always says what’s on her mind, whether or not it’s polite or appropriate. But her refreshing honesty is what people respond to, and both she and Sandy know she’s going to need people in the not-so-distant future.

Meyering carefully threads the themes of parental concern and young adult independence throughout her screenplay. Sandy and Margarita’s situation is heightened and urgent due to their conditions, but the anxieties are universal — any parent wants to feel assured that their child is going to be OK when they’re gone; any child wants to prove that they’re capable and free to do what they want. The characters of Coach, and Margarita’s store manager Hank (Iqbal Theba) prove that strangers can “get” Margarita just as she is, without Mom’s interference or interpretation, even if it takes some time for Sandy to understand that.

Meyering and cinematographer Natalie Kingston use practical light in “Horsegirls,” creating a naturalistic and often dark look, though it is beautifully shot. The distinctive photography sets it apart cinematically from other films in this genre, like Margarita, who visually stands out from the other girls.

This is a simple story, executed with singular panache, and while “Horsegirls” follows expected narrative beats, it’s in the moments of surprise that it works best, often thanks to Carrier and her line deliveries, which help the tone pop, offering a dash of sour to offset the treacle. The film is a reminder that conformity is never compulsory, and that putting yourself out there is the only way to find out who’s ready to catch you.

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'HORSEGIRLS'

2.5 stars (out of 4)

MPA rating: PG-13 (for some strong language)

Running time: 1:41

How to watch: In theaters July 17

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