Consistency of tone is essential for a successful psychological horror story. In It Comes at Night, writer-director Trey Edward Shultz establishes an unyielding bleakness that completely permeates the entirety of his post-apocalyptic story. The constant pressure of this mood grows and oppresses the viewer, like an emotional constrictor squeezing all hope and joy from the proceedings. In short: It Comes at Night is not a fun or pleasant viewing experience, and it is clear from the opening shot that this is not a world where things turn out well. Its dogged pursuit of desolation is not mere pessimism – it’s an exploration of human fear, mistrust, and desperation.
In American Honey, writer-director Andrea Arnold crafts a coming-of-age story about teenage wanderlust that practically feels like a documentary. The film is a peculiar slice of life, both immersive and engrossing, and while watching it you feel as though you are just another member of the rag-tag crew. The camerawork and a score driven by pop music enhance the realism of the film. The story focuses around a group of young people who sell magazine subscriptions door-to-door. Full of an ensemble cast of mostly non-actors, American Honey wanders through life with dubious morals, sexual and emotional exploration, and the pace of a buddy road trip movie – just with about a dozen buddies.