Night Comes On is a powerfully told and emotionally intelligent feature debut from director Jordana Spiro. By focusing on creating a connection with their characters. Spiro and co-writer Angelica Nwandu infuse an otherwise typical story with not only originality, but also care and empathy.
Night Comes On thus becomes neither a coming-of-age tale nor a revenge drama. But instead a gentle exploration of these worlds — and refreshingly — through a consistently black female gaze.
Angel (Dominique Fishback, “The Deuce” TV series) has just been released from juvenile detention. Where she spent a year serving time for illegal possession of a gun. Upon release, her first task is to set out to acquire another gun.
Why the obsession with firearms? The thing that seems to drive Angel more than anything at the start of this journey is her desire to seek revenge upon her father. Who murdered her mother in front of her, but was not convicted due to a lack of evidence.
Angel’s determination to right this miscarriage of justice sits quietly under her every action. She makes inconsequential the prospect of returning to incarceration. Of course, the realities of navigating the world as not only a black woman. But also an ex-convict, get in the way of her goal, and Angel is left questioning whether the horrors of her past. That are worth throwing away her future for.
It is in the course of her search for her father that Angel is reunited with her younger sister Abby (Tatum Marilyn Hall)
Whose foster home experience is both shocking and yet painfully common. The two sisters set off together to find their father, but with very different ideas in mind. Abby, whose innocence and youthful optimism shine through despite her difficult early life, just wants her sister back. Angel, on the other hand, is more convinced than ever that the best way to protect her younger sister. Who is to carry out her plan of vengeance. Even if that will lead to the two being separated.
Dominique Fishback is undeniably talented, and has the confidence and skill to play this role with a grounded, unhurried approach. She does not scream her emotions — either verbally or physically. But instead trusts the audience to pick up on her subtlest movements, which means she always has our undivided attention.
Hall, meanwhile, is absolutely amazing to watch as she navigates the complexity of Abby. She is a girl who is both emotionally open and reserved, both vulnerable and guarded. With a charm that makes the audience smile involuntarily. Hall effortlessly finds the balance needed to keep bringing the lighthearted side out of a relatively somber story.
The themes driving Night Comes On make it clear that Angel’s revenge is an underlying, secondary narrative, while the focus remains on examining the bond of sisterhood.
The scenes in which Angel and Abby navigate their reunion and their new relationship provide the pulse of this film, beating to keep alive a sense of family that has long been dormant. The girls may have lost their mother, but their connection to her is clearly visible throughout. It is particularly poignant that their mother’s love of the sea creates the setting for a pivotal scene in which the film simultaneously washes away the past and forces a decision about the future.
First seen at Sundance, Night Comes On has the opportunity to fall into a lot of festival traps: Angel and Abby Lamere are the picture of cheated youth. Girls who were forced to become women before they were ready.
It never does, however, choosing to value its characters more than to let them serve as either a cautionary tale or tragic poverty porn. With a female-led cast and crew that have evidently devoted time and soul to its creation. I hope Night Comes On serves as a reminder of the wonderful effects of allowing fresh and diverse voices to be heard.
With Night Comes On, Jordana Spiro is out to show she’s not another TV actor dipping her toe in the sea of indie movies looking to wow folks with her cute, quirky way of telling stories. (Translation: She’s not trying to be Zach Braff.)
Spiro, best known for her turns in the TBS comedy My Boys and the Netflix crime drama Ozark, goes dead serious with her debut feature. Which she co-wrote with Angelica Nwandu, founder of the Instagram-based gossip hub the Shade Room. Nwandu implemented some autobiographical aspects in the story: When she was seven, Nwandu’s father killed her mother, a tragic circumstance also faced by the movie’s protagonist, Angel (Dominique Fishback).
Fresh out of juvenile detention, she hatches a plan to buy a gun and kill her father for killing her mother. Desperate to know his whereabouts. She springs her more positive little sister (Tatum Marilyn Hall) from foster care and they take a little trip.
Spiro creates an earnestly cynical world for our two heroines, a place where the men are either unresponsive or sleazy. And the women are around to help a sister in distress. As much as Spiro and Nwandu want to hit audiences with the Real Shit, the movie is predictably dour.
All through the film, you pray it doesn’t go down the bleak routes that films like this usually go — and, most of the time, it does. Night Comes On is an assured first shot from Spiro but, damn, I couldn’t wait for this fucking thing to be over.
Directed By: Jordana Spiro
Stars: Dominique Fishback, Tatum Marilyn Hall, Nastashia Fuller
Written By: Jordana Spiro, Angelica Nwandu
In Theaters: Aug 3, 2018 Limited
On Disc/Streaming: Aug 3, 2018
Runtime: 87 minutes
Studio: Samuel Goldwyn Films
CRITIC REVIEWS FOR NIGHT COMES ON
The quest-plot puts a solid frame around what’s essentially a sensitive study of a shattered family, poorly served by the social institutions meant to keep them safe.
Matt Zoller Seitz
An unusual and interesting feature that tries to convey the inner state of a non-communicative young woman mainly through reaction shots of her face.
Though slow, it’s intense, and you’re hooked from its first scene… to its last, wrenching image. Spiro is a real filmmaker.
Like its determined heroine, “Night Comes On” burns with a smoldering fire, a heat that is no less intense, no less effective, for remaining largely beneath the surface.