For those in creative fields, such as filmmaking, work can be cathartic. Filmmakers create communion with those who see their films and can show the intricate complexities of human nature. Trey Edward Shults, brought us the astounding independent film Krisha in 2015, revealing the brutal loneliness and self-destruction of a woman suffering from addiction. The power of Krisha comes from an uncanny portrayal of somebody lost in a downward spiral, and as it turns out Shults wrote the film from his own experience with his father. Now with It Comes At Night, Shults admittedly turned again into his own personal trials for inspiration. Spurred by the painful death of his father, he has crafted an intimate and harrowing story about paranoia, the inevitability of death, and the innate human struggle to protect family.
Standing solidly as a psychological horror film, the title might lead you to assume this to be a creature feature or ghost story. It’s not, and yet it could be. Shults purposefully leaves a lot of questions unanswered and you have some freedom to consider your own conclusions. It’s deftly written, allowing your imagination to move through different possible scenarios to fill in the blank. And yet, these mysteries don’t distract from the central story at all. It’s better to leave them unexplained, because that’s what sucks you in the most about this film. You have only as much information as the main characters do from their perspective points of view. And the movie has you constantly scrabbling to digest each scene, weighing out who to trust, and never allowing you a moment of peace. It’s beautifully tense, setting your mind into a whirlpool of mixed emotions. You want to trust all the characters, but there is just too much as stake to do so, and the movie injects suspicion at every turn. Shults knows how to deliver a brilliant mind-spin and it’s one heck of a thrill ride.
Our story begins with Bud, played briefly by David Pendleton. Bud is dying of a mysterious and horrible disease and Sarah, the lovely Carmen Ejogo, his daughter, is saying her last farewells. As an opening scene, it grabs you quick with its vicious brutality. Whatever disease Bud has, it’s contagious enough that his own daughter must speak her last words to her father in a gas masque, and is unable to comfort him in his suffering. Her husband, Paul, played by Joel Edgerton, takes Bud out of the plastic sealed entryway in a wheel barrow. Bud is dispatched swiftly, and you are left breathless by the violent efficiency of the whole affair. The film establishes quickly, that the ugly methods are a true necessity for survival. This is also a post-apocalyptic story, where humanity has been struck down by a highly communicable disease. People and resources are scarce, and this maintains a level of angst throughout.
As the head of the household, Paul has dedicated his life to protecting his wife and more importantly, his teenage son, Travis, portrayed wonderfully by Kelvin Harrison Jr. Travis is 16 and he is stepping into manhood in complete isolation from peers. He lives under his father’s unyielding rules of survival and safety, while still maintaining a beautiful innocence in his soul. It’s surprising to realize that even as you are watching a film about paranoia and fear, you are also witnessing a coming-of-age story. Travis is discovering adulthood through very limited interaction with other people. And when a strange man, Will, arrives with his young family, he is finally able to glimpse intimate human interaction. While some of these moments with Travis are poignant and beautiful, we also witness the psychological toll that circumstances have taken on his mind. Be prepared for some disturbing dream sequences as Travis works through the stress of his sad situation.
The new family’s arrival kicks off the many interwoven themes of the film. Paul, along with the audience is constantly debating whether to trust Will, played by Christopher Abbott. Paul is a good man by nature, but the fall of society has hardened him to the reality that strangers are the most dangerous threat to his family. And yet, the small family could also represent hope for something akin to community. He cautiously takes in the couple and their small child, hoping for the best, while being ever vigilant for trouble. As the families learn to live with each other, they share in the work and form tender albeit fragile bonds. Events unfold with frightening consequences and the movie returns to its dark and terrifying precedence.
With chilling sound design and gorgeous lighting and composition, the esthetics of this film are perfect. They deliver the story with flair and keep you on your toes with their subtle power. Shults has quite an eye for using every tool at his fingertips to set up his story, and the audience is rewarded with a rich experience.
While, this film might not be ideal for date night, it is a movie that cinephiles should not miss. This film is exquisite and poetic. It’s brilliant filmmaking from a fabulous up-and-coming artist. Not only is Trey Edward Shults a talented man, he is a brave one. During the Q & A for the press screening, he openly shared the painful events that inspired him to make such a dark and honest film. Few people have the courage to face the demons of their lives and to use them to make something masterful.
Thanks for reading,
Diva Del Mar
