As endings go, the one invented by the Swedish director Lukas Moodysson for his gentle, unassuming comedy “Together” (2001) is just about perfect. It’s not a spoiler to share it: Already, the members of a 1975 commune have squabbled over everything from eating meat to owning a TV and the need for wearing underwear in the kitchen. Their children, often the most mature people in the room, look on, mortified. One morning after the worst of the infighting has ended, everybody heads outside for a sloppy, impromptu soccer match under a light snowfall — adults and kids, women and men, socialists and materialists. In the chaos of the game, all is forgiven.

As if this scene weren’t sweet enough, Moodysson adds a little ABBA, the period-specific hit “SOS,” using its minor-key piano riff and lyrics as a counterpoint to the euphoria: “Where are those happy days? They seem so hard to find.” Neither Moodysson nor his producers could predict how this climax would play for audiences during the film’s American release — 10 days after Sept. 11. Arriving in theaters during that terrible moment, “Together” felt like a gift, a reminder of something precious.

Movies have an alchemical way of resonating with real-world traumas. The better ones somehow intuit an audience’s discomfort, absorbing the anxiety and replacing it with cool reserves of dignity. During the coronavirus quarantine, we can cram our viewing binge lists with distractions (I certainly have): escapist rom-coms, violent Scorsese beatdowns, even a post-apocalyptic nightmare or two. But thinking about Moodysson’s “Together” made me yearn for tales of resilience, for characters who have been where we are — or somewhere similar — and made their way through a crisis, not only surviving it but arriving at a kind of grace.