A dark, malevolent threat has plagued the world, and a man with his wife and son, barricaded into their house living under strict rules, is challenged by a young family seeking refuge.
Post-apocalyptic, slow-burning, and edgy at the same time, It Comes at Night plants the seed of doubt about what is really happening in the world, who is to be trusted and who isn’t, who is indeed carrying the infectious disease, and who has sunk into paranoia.
It is a psychological horror by Trey Edward Shults, with no cheap jump-scares, formulaic way of writing, standard character development, spoon-fed answers to epidermic questions, and Hollywood-like utterances, actions, and reactions. There are plenty of films like that out there, but this is not one of them. You’ve been warned; proceed with caution. And if the story doesn’t really terrify you, the astonishing performances of Joel Edgerton, Christopher Abbott, Carmen Ejogo, Riley Keough, and Kelvin Harrison Jr. definitely will.
It’s really hard to analyse it, even briefly, without giving anything away, so I’ll try to draw a picture for you. Think of it as a parable. It is a symbolic interpretation of four major “entities”: the fortified house, the infected outside world, the family living under an uncompromising domestic order, and the night itself. Try to place them accordingly as the story, admittedly, slowly unfolds and only then ask yourselves…
What is it that comes at night? And why?
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Solidarity for all the innocent lives who suffer the atrocities of war!
Stay safe!
