Eight year old Amy (Alana de Roma) can’t hear or speak; she’s been like this for three years, since her rock star dad, Will, was electrocuted in front of her eyes in a horrific on-stage accident during a storm-drenched concert. Her mother Tanya (Rachel Griffiths) is hassled by well-meaning welfare officers, who nevertheless prompt her to disappear from her father’s remote, country cottage, for the anonymity of the big city. Here, in a grotty inner city street peopled with an odd assortment of neighbours, Tanya and Amy try to find a new life. Every doctor and every specialist has declared Amy physically perfect, yet Amy remains silent. . . until one of the neighbours, guitar-playing songwriter Robert (Ben Mendelsohn) discovers that there is indeed a way to communicate with Amy. Eventually, Amy’s terrible trauma is unearthed, thanks to the power of music.

You\'ve heard nothing until you hear her song.

The husband and wife team of Nadia Tass and David Parker - she directs, he usually writes the scripts and photographs - have been responsible for the successful comedies Malcolm, The Big Steal and Mr Reliable. With Amy, they are trying something a little different - a heart-warming story centering around a little girl so traumatised by something terrible she witnessed at the age of 4 that she`s no longer able to speak or to hear. The idea isn`t exactly new, but Tass and Parker give it a fresh twist - Amy, wonderfully played by Alana De Roma, CAN communicate - by song. Amy lives with her widowed mother, Tanya - the excellent Rachel Griffiths - but it`s a precarious existence, because the people from the welfare department are on her trail. The pair move from a country farm to the back streets of Melbourne, where Robert, Ben Mendelsohn, a musician neighbour, soon discovers Amy`s secret...Amy is a boldly offbeat film which succeeds, for most of its length, on an emotional level. The concept is an unusual one - the idea that people are forced to sing if they want Amy to hear them - and visually the film is always impressive - not only thanks to Parker`s fine widescreen photography - but also because of the very impressive street set, created by production designer Jon Dowding. The film falters, though, in the too-broadly conceived marginal characters - apart from Robert, the denizens of the street where Amy and Tanya live are not very interesting or believable characters, and the film seems needlessly padded when too much time is devoted to them. Still, for the most part, Amy is really enchanting.