Another year, another interview with Trey Edward Shults, one of my favorite up and coming filmmakers. (I should maybe start a list of my favorite up and comers, just for my own edification, but also because I really love web traffic.)
In March of 2016, we talked about Krisha, his debut film, which turned out to be one of my favorite movies of the year. In June (the month we’re in) of 2017 (the year we’re in, Christ help us all), we talked about It Comes at Night, which he gave a mention to in our Krisha interview, all casual-like, as though the note that he was already working on his sophomore feature wasn’t a big deal or something. Trey’s a pretty chill guy.
You might not guess it by watching his movies, though. They’re tense. They also feel personal, even It Comes at Night, which compared to Krisha is not at all a family affair as a production. Still great, though, but I’m almost at 200 words and I’m hungry, so I’ll just leave you with this handy dandy link to Slant Magazine, the outlet I had the pleasure of interviewing Trey for.
A Constant Visual Feast 
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The horror fans cannot make up their minds on It Comes at Night because of the absence of blood and gore. It is superbly minimalist but conveys the full horror of what some people can or must do to survive dystopian catastrophe.
And the absence of anything resembling a true “monster.” If I’m being honest, I am getting to the point where seeing every young, up and coming horror auteur try their hand at that theme – the real monster is man! – is exhausting, but Shults is a really, really talented filmmaker, and I’m not at all upset at the idea of him exploring that motif in his work. Might not work for everyone else, but IT COMES AT NIGHT is still one of the best things I’ve seen all year.
“the real monster is man!” sums it up well.
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