In front 2024 US presidential electionPolitical commentators on both sides of the time compared the counterfeit voting process with a kind of national biopsy. Now, ”Come see me in the good light” – A striking and airy documentary about Genderqueer -poet Andrea Gibson and their upcoming struggle with ovarian cancer – premieres at Sundance 2025 Against a movement of new anti-LGBTQ steps recently taken by President Trump.
Director Ryan White delivers this touching gaze on man’s life at an essential time for queer and transgender people in the media. White’s atypical portrait of Gibson – which is reminiscent of something like the tragicomic “50/50” from 2011 – relies on intimate beauty and sharp humor to seek the poet’s art, identity and partner Megan Falley (also a poet) with optimism and power.
The well -spoken and equal subjects promote a generous tone that can seriously inspire compassion from some less tolerant Americans. The couple’s commitment also increases Gibson’s general visibility as a simple voice in a difficult historical moment. (It is a troublesome reality of the so -called “cancer Documentary” basis that the patient’s fate often acts as a dramatic question. In January 2025, it is worth knowing that Gibson is still fighting for cancer and often posts often posts New work online.)
Although the poet prize winner was born in eastern Maine, Gibson has been an artistic fixture by Boulder, Colorado for more than two decades. The 49-year-old writer rose to fame as a spoken president known for selling out rock clubs with his suffering but still available museums on gender, politics and society. Self -described by Gibson as “Poetry You don’t need a degree to understand”, the artist’s socially conscious, raw and vulnerable prose melt with their easily accessible androgyny for a staff on stage, their partner is similar to a “gay james dean.”
Even fighting against a scraped neck from a side effect of chemotherapy, Gibson’s cordial delivery elicits an incubating and attractive heat that reflects their ability to connect to the audience — Averaged whether it is reciting poetry lives in a theater or in conversion with White’s documentary lens . Fittingly suggested the poet for the most unwritten project by the producer Pantieswhich shows up cards towards the end and has a lot of free work in stand-up comedy.
“If I die, Meg will really need me to support her,” offers the sick Gibson in one of many bitter -sweet pages aimed at White’s crew. An infinite font of dark brilliant romance and comedy, Gibson and the 35-year-old Falley use laughter to endure oncology treatments, interrupted plans and the ever-increasing weight of potential grief. The eloquent lovers invite the viewers to a recognizable queer relationship that is genuine, charming and sometimes silent devastating – just because you get the impression that Gibson and Falley really and deep are in love.
A bright place of safish representation in the latest documentary filmThe partnership shown in “Come see me in the good light” suggests how you live your privacy and love the people in it can be their own type of art form. Minor details (blink and you will miss a classic lesbian “U-haul” moment) appear together with Bolder screens of LGBTQ pride (prepare for a joke about fingering a tumor And of course the revelation that Gibson is close with an ex-girlfriend). It is an upset snapshot that confirms some audiences and subtly educates many others.
As much as an exercise in empathy as it is a bit of life, “Come me me in the good light” traces Falley’s winding journey as a terrified partner through annoying push and pull. It is a related emotional arch regardless of your sexuality, and especially gripping when integrating the two authors’ thought -provoking essays, poems and discussions. At the same time, Gibson dissects his complex life’s experience of extended one-to-one-interviews-speaking far about the irony in their Problems with depression Year before their ovarian cancer diagnosis in 2021. Gibson spends much of the movie struggling to get back on stage, but the road to recovery turns out to be more complex than the award winner or Fally would like.
Gibson moves away physical vanity and even rejects strangers on his non-binary pronouns, Gibson withdraws from identity for a completely consumer and transformative disease. The emotional change comes into focus through White’s expressive narrative frame. Although it is imperfect, the filmmaker’s presentation of Cancer’s various transferable qualities through Gibson’s creative heritage and inspiring life partnerships is effective. Enough to overcome the documentary’s inflated length and sometimes inconsistent voltage. “Come and see me in the good light” the kaleidoscopic themes interact for gender poetry with the astonishing daily handling of a deadly illness and makes the vulnerability for its well-chosen substances remarkable cinematic justice. Through it, White creates a sense of existence under and a movie that bursts with hope for all kinds.
Rating: B+
A stand media and amplifies image production, “Come see me in the good light” had its world premiere at Sundance Film festival on January 25. It is currently seeking distribution.
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