I went to him on his deathbed, and he was so full of regret he didn’t want to let go. I had a rough relationship with him, and we hadn’t seen each other in over 10 years, and he got pancreatic cancer. Kelvin Harrison Jr., Carmen Ejogo and Griffin Robert Faulkner in It Comes at Night That being said, I had time with it after I initially wrote it, and as it got made, I was conscious of that stuff, but I really wanted to keep intact what it was that came out of me in the initial three days that I wrote it. It started with a personal place, and I just wrote through there, and that kind of guided me. Trey Edward Shults (TES): No, it just kind of came out. Shults shared with MovieMaker the specifics of making a larger feature that was originally designed with much smaller expectations.Ĭarlos Aguilar, MovieMaker Magazine (MM): When you set out to write this film, did you want to subvert genre tropes in some way? In both films, Shults channels difficult passages in his own life and works through them not literally but cinematically. Like in his astounding Krisha, John Waters’ favorite film of 2016, the promising Malick disciple works within a single space and builds dramatic intensity from unassuming situations. Trust comes at a high price, and the weight of morality, even in dire circumstances, is heavier than the possibility of death.
Their strict security protocol and food collection methods have allowed them to create a system that has more or less functioned so far, but when another family enters their private ecosystem the rules inevitably change. Straight man Paul (Joel Edgerton), his brave wife Sarah (Carmen Ejogo) and their teenage son Travis (Kelvin Harrison Jr.) live alone in the woods in what seems to be the aftermath of an event that changed the course of life on earth. Fear is a virus with no prescribed cure and, as we learn in Shults’ new compelling family drama, is heightened by isolation. Buried beneath fictional unsettling sounds, survivalist struggles and the absence of light is the real-life, interpersonal tragic event that moved writer-director Trey Edward Shults to write his sophomore feature, It Comes at Night.Īt face value, the film can be interpreted as a genre piece that thrives simply on jump scares, mysterious events and (maybe) revelatory plot twists, yet on close inspection these conventions reveal themselves as a vehicle to address much more humanistic concerns.
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