Come See Me In The Good Light Review: Andrea Gibson’s Death Is Reframed As A Stunning Invitation To Live

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Andrea Gibson, a celebrated poet, performer, and activist, passed away in July 2025 after a long fight with ovarian cancer, just weeks before turning 50. Known for their direct and clear style – they even served as Colorado’s Poet Laureate in 2023 – Gibson believed poetry should be easily understood. They famously asked, why create a poem that people can’t connect with, or worse, one that doesn’t touch their emotions?

Ryan White’s film portrays Gibson during their final months, showing a surprisingly joyful and meaningful period of life. It challenges typical perceptions of living with cancer by focusing on the beautiful connection between Gibson and poet Megan Falley. Rather than a story of defeat, the film depicts a journey toward freedom and acceptance. As Gibson states in an interview, “Finding happiness becomes easier when we realize our time is limited.” The film shows Andrea and Meg embracing life, even amidst challenges, and finding a unique sense of peace.

Poet Andrea Gibson’s Death Created A New Understanding of Life

The film truly shines when it simply observes the natural rhythm of the couple’s life together. Cinematographer Brandon Somerhalder, known for his work on the New York Times’ Almost Famous series, creates a similarly close and personal feel. Throughout the many scenes of the couple relaxing, working on each other’s projects, or spending time with their dogs in their Colorado home, the camera feels like a comfortable guest. We’re consistently drawn into their evolving thoughts about life, art, and what it means to be partners.

The film is packed with powerfully emotional scenes, but the director sometimes undermines this by relying too heavily on overly sweet music by Blake Neely. This is especially disappointing when the music drowns out the beauty of Gibson’s poetry, ignoring the natural rhythm and musicality already present in their work. Gibson was a slam poet, and their words, even when not performed live, are most effective when heard on their own, without unnecessary musical additions.

Honestly, the film could have been a little tighter – there’s a lot of footage, but I didn’t mind spending extra time with Gibson. It really hit me when they talked about how much life exists in a single moment near the end. For many of us in the queer community, Gibson’s impact feels eternal. They were a true pioneer, one of the first poets to build such a following they could tour like a rock star back in the 90s and 2000s. Their work feels both grounded, like Mary Oliver’s, and powerfully radical, like Sonya Renee Taylor, but it’s completely unique to them. What I especially appreciate is how consistently Gibson gave voice to the experiences of lesbian and trans people in ways we hadn’t really heard before.

This documentary isn’t so much about the couple’s artistic work as it is a portrait of their relationship while facing a difficult medical diagnosis. Gibson reveals they were already struggling when she received her diagnosis, and she initially tried to end the relationship. However, Falley remained by her side, and they ultimately married in 2022. Even with the shadow of mortality hanging over them, they fought for Gibson’s health, pursued their art, and strengthened their bond with one another.

Gibson’s poetry is clear and direct, while Falley’s is more elaborate and decorative. Gibson struggles with ongoing anxiety and fear of performing, but Falley remains optimistic until the moment of truth. Gibson pushes Falley to connect more deeply with her emotions, but Falley tends to analyze and refine her work with a logical approach. Despite their very different artistic styles and life perspectives, they find many inspiring ways to connect, much like separate rivers eventually flowing together.

This film beautifully portrays a couple reflecting on how they first connected – a passionate, openly sensual encounter that blossomed into something deeper. They recount a time when their mutual crush on Meg came as a delightful surprise – someone playfully dubbed Gibson “the gay James Dean!” – and how seeing themselves reflected in Meg’s body sparked a journey of self-acceptance. Meg herself poignantly describes feeling like she needed to overcome societal perceptions of her body, and wonders if Andrea’s love for it could finally allow her to love it too. It’s a truly moving story about finding healing through connection, and both women ultimately embrace life’s challenges not as burdens, but as opportunities for growth and acceptance.

The film reaches its most beautiful moment when editor Berenice Chávez skillfully combines a recording of Gibson’s poem, “The Little Things” – a list of simple, everyday joys – with scenes of Gibson and Falley actually experiencing those moments. We see them cover a piano with love poems, call their mothers nightly, and finally repair their always-broken mailbox. This sequence perfectly illustrates how art can shape reality, and vice versa, suggesting we might already have what we need to live fulfilling, long lives – it’s simply about appreciating the good things around us.

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2025-11-11 00:00