Posted on Monday, August 6th, 2018 by Siddhant Adlakha
Angel Lamere, an eighteen-year-old fresh out of juvie, should be at the beach. She grew up dreaming of being by the water; on her mother’s suggestion, cars passing in the night sounded like ocean waves, and we get to experience these sounds alongside her. The beach is the last place she felt safe. It feels like home, or at least, what home ought to feel like. En route to the shore to confront her estranged father, she gets into a massive argument with Abby, her ten-year-old sister, who levels accusations of abandonment her way. Instead of frolicking in the sand, the two sisters await a dismal return home, their contemplative silence speaking a thousand words as they crouch beneath a bus stop shaped like a tidal wave. Its blue paint is chipped and peeled, like something from a faded memory.
This is the world of Night Comes On, in which Dominique Fishback (The Deuce), who plays Angel, and debutante Tatum Marilyn Hall, who plays Abby, are allowed to do just that: play. Playfulness is usually whimsical — for all we know, first time feature director Jordana Spiro (Ozark’s Rachel) may have run a jovial set — but Fishback and Hall’s playfulness, as it exists on screen, takes the form of daring exploration. Spiro’s kitchen-sink realism keeps the dialogue to a minimum (much of the chatter with side characters feel intentionally perfunctory), allowing her bold actresses to bounce off one another in an oddly touching revenge saga.