The Nashville Film Festival came to an end Saturday, a culmination of a 10 day event that featured plenty of quality feature films and shorts.

In the final two days I was able to screen nine feature films, including a special presentation of the latest from writer/director John Carney (the man behind “Once” and “Begin Again”) “Sing Street.”

It wasn’t just my favorite film of the festival, it is my favorite film of 2016 so far.

It’s a charming tale 14-year-old boy in Ireland in 1985 who forms a band to impress a girl. It’s a film that has a John Hughes feel, capturing the 1980s musical era perfectly.

The kids don’t just give good acting performances, but they can sing too – creating some catchy pop tunes that had me humming long after my screening.

Other thoughts from the final two days:

“A Song For You: The Austin City Limits Story” is an interesting look at the long running PBS show with lots of insight from different acts and people that helped make the show.

“Holy Hell” is another intriguing documentary that gives the audience a unique look inside a cult, even if the film purposely holds information to create a big reveal in the final act that isn’t nearly as surprising as it should be.

“Neptune” is a touching tale of a young orphaned girl who becomes obsessed with the death of a classmate, featuring really good work from newcomer Jane Ackermann.

“Inside Scarlett” is a trippy little bit of B-movie schlock about an agoraphobic who suddenly finds herself pregnant and is convinced that her stuffed animal chicken has impregnated her.

It’s weird, dark, and twisted, and does drag a little in the end but still gets by because it never strays too far from embracing its B-movie roots.

“The Beginner’s Guide to Snuff” is not nearly as smart as it thinks it is, trying to be self referential and cute only to fail.

“The Dust Storm” is a solid love story with nice intimacy that makes the most of its Nashville locations.

“Josephine” is more about individual moments than a fully realized feature film – a melodrama that feels more like a TV movie than a feature film.

“Cameraperson” feels more like a highlight reel for a job interview than a fully realized feature film.