By John Corrado
The 2025 Hot Docs Film Festival runs from April 24th to May 4th in Toronto
When standup comedian Tig Notaro, one of the producers of Come See Me in the Good Light, faced her own cancer diagnosis, she announced it to the world by opening a show with the line “good evening, I have cancer.” This candidness in the face of mortality, and most importantly the willingness to keep going and keep performing, is some of what we also see in this film’s subject, spoken word poet Andrea Gibson.
Come See Me in the Good Light is a beautiful, emotional, life-affirming – and occasionally surprisingly funny – portrait of Gibson, as they navigate a terminal cancer diagnosis alongside their partner. The cumulative effects of watching the documentary, which details both a romantic relationship being put through the wringer and someone staring down an early death while preparing for what could be a final performance, hits hard.
Gibson is Colorado’s Poet Laureate, and a queer artist who has gained a major following as a spoken word artist. Gibson’s career was ascendant. And then they were diagnosed with terminal cancer during the pandemic, with their partner, fellow poet Megan Falley, taking on the role of caregiver. Falley jokes that she had shifted to writing a memoir about her own body image issues when Andrea was diagnosed with cancer, crucially changing the trajectory of her story.
Director Ryan White (Good Night Oppy, The Case Against 8) gains intimate access to the couple in their Colorado home. The result is a documentary that features many of the beats of a cancer drama, but goes much deeper than that. The use of personal footage, candid moments, and Andrea’s poetry is incredibly moving. There is a real warmth to the images captured by cinematographer Brandon Somerhalder, with editor Berenice Chavez weaving it all together into a beautiful tapestry.
White’s film also transcends by being a celebration of spoken word poetry itself, and a compelling introduction to Gibson’s work. White finds a way to utilize their poetry within the film in a very powerful way, with Gibson’s words – such as a heartbreaking poem about a soul missing its body – being perfectly matched with the images and lovely musical score by composer Blake Neely.
White’s film works as a love story, but also as a portrait of queer identity and mental health. There is profound emotion in the way that Gibson talks openly having have struggled with suicidality throughout their life from growing up closeted in small town Maine. But now that they are faced with the reality of death, they want to go on living. It’s a heartbreaking conundrum, but one that pushes Gibson to embrace every moment, encouraging their followers to do the same.
Through its collection of life moments, Come See Me in the Good Light offers a powerful reminder of embracing every hopeful, tragic, devastating, unexpectedly humorous moment of our own lives. It’s the best film of the festival, and one of the year’s best, too.
Film Rating: ★★★★ (out of 4)
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