Sophy Romvari’s Blue Heron has emerged as an unlikely but worthy critical darling. Swathed in international festival laurels, it’s the most auspicious Canadian feature debut in years. The film is a family portrait made up of stolen glances and overheard conversations, mediated by analogue cameras, camcorders and iPhones and filtered through the director’s own memories of growing up in British Columbia in the early 2000s.