The film’s dialogue is naturalistic and captures the speech of the time behind without sounding false, establishing a short hand between our leads that reinforces their connection. There’s several sprawling conversations, often photographed in lengthy unbroken shots. When we’re introduced to Everett and Fay he teaches her how to use her recorder first by interviewing people they pass and then encouraging her to describe the potential advancements in her science magazine. In near dark the camera follows the characters as Fay excitedly describes what wonders the future might have in store. We don’t see their faces as the camera follows at ground level, matching their languid, ambling pace but their voices are rich with personality especially Fay’s enthusiastic story telling. It’s a long scene, one meant to establish the ultra cool, confident Everett and the optimistic, empathic Fay but it also serves an important purpose in encouraging the audience to attentively listen. The sound design builds perfectly from an early unease to a sense of genuine dread in the final act with the music adroitly weaving through the mix. Even the film’s mysterious sound is reinterpreted into the score, constantly building an almost subliminal sense of dread throughout. Though The Vast of Night’s queasy tension is uncomfortable at times, heightened by M.I. Littin-Menz’s voyeuristic cinematography. Characters are photographed claustrophobically tight in the frame or stalked by a low angled creeping camera that makes the audience feel like an uninvited participant in the events. These distinctive ground shots were achieved with the use of go karts and early on there’s an Evil Dead-esque sequence where we see the majority of the town distracted by a basketball game. All of this cinematographic invention is bolstered by Andrew Patterson’s editing (though he’s credited under the a pseudonym) shots are unhurried and given time to focus the viewers attention. It’s only in the later parts of the film as Fay and Everett become more frantic that we see sudden, disorienting jump cuts.

The slow, deliberate nature of the film is sure to alienate some viewers but others will find a hypnotic, captivating film that elevates well worn ideas with a focus on craft and character. Although admittedly I was left wanting by the ending I admit I’m not sure what I would have found satisfying in its place. As is though, In The Vast of Night is an intriguing, fascinating film well worth your time.