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In an intimate and joyful story of love in the face of loss, celebrated poets Andrea Gibson and Megan Falley find strength—and unexpected hilarity—in what might be their final year together.
Self
Self
Self (uncredited)
In one of the many memorable lines from “Star Trek II: The Wrath of Khan” (1982), Dr. David Marcus (Merritt Butrick) echoes a quote once uttered by his father, Adm. James T. Kirk (William Shatner), that “how we face death is at least as important as how we face life.” A despondent Kirk, who was in the throes of grief over the loss of his best friend at the time, dismissively responds by chalking up the sentiment to “just words.” But, despite Kirk’s indifferent reply, his insightful observation speaks volumes, especially for those who are staring down the prospect of their own demise. And that’s particularly relevant in the minds of individuals who are facing the possibility of an untimely transition while still in the prime of life. Ironically, though, that’s precisely the central theme of the latest documentary feature from filmmaker Ryan White, a chronicle of the final year of the life of spoken word poet Andrea Gibson (1975-2025), who developed a following on par with that of a rock star, often performing to sold-out audiences in the 1990s and 2000s. Gibson, who would later go on to become Poet Laureate of the State of Colorado, was diagnosed with ovarian cancer in 2021, the beginning of a four-year odyssey characterized by alternating occurrences of disease onset and remission. However, as this recurring pattern continued, Gibson began to see the trajectory of where circumstances were headed and started looking at how to prepare for what appeared to be an inescapable eventuality. As the film unfolds, with the loving and unwavering support of fiercely devoted partner and fellow poet/writer Megan Falley, Gibson thoughtfully examines matters of life – and impending death – from an array of perspectives, attempting to come to terms with a disease that has been slowly but steadily worsening. In the course of the picture’s time frame, Gibson looks back on a life as an artist and gender identity activist, as well as the challenges of hard-won self-acceptance. The film also shares Gibson’s observations on matters of love, commitment and justice, as well as the resolve to carry on and complete cherished tasks with what time is left. The result is a heartfelt and at times surprisingly humorous portrait of a gifted, reflective individual courageously approaching the end of life with grace and a generous spirit of being grateful for what was and for what remains in whatever time is left. For its efforts, the picture was named one of 2025’s Top 5 Documentaries from the National Board of Review and earned an Independent Spirit Award nomination for best documentary feature. And, even though the picture has a tendency to become somewhat repetitive as it plays out, it nevertheless eloquently embodies the existential intent expressed at the outset of this evaluation, reminding us all to prepare for what’s to come – as well as whatever might come next.
November 14, 2025
Self
Self
Self (uncredited)
In one of the many memorable lines from “Star Trek II: The Wrath of Khan” (1982), Dr. David Marcus (Merritt Butrick) echoes a quote once uttered by his father, Adm. James T. Kirk (William Shatner), that “how we face death is at least as important as how we face life.” A despondent Kirk, who was in the throes of grief over the loss of his best friend at the time, dismissively responds by chalking up the sentiment to “just words.” But, despite Kirk’s indifferent reply, his insightful observation speaks volumes, especially for those who are staring down the prospect of their own demise. And that’s particularly relevant in the minds of individuals who are facing the possibility of an untimely transition while still in the prime of life. Ironically, though, that’s precisely the central theme of the latest documentary feature from filmmaker Ryan White, a chronicle of the final year of the life of spoken word poet Andrea Gibson (1975-2025), who developed a following on par with that of a rock star, often performing to sold-out audiences in the 1990s and 2000s. Gibson, who would later go on to become Poet Laureate of the State of Colorado, was diagnosed with ovarian cancer in 2021, the beginning of a four-year odyssey characterized by alternating occurrences of disease onset and remission. However, as this recurring pattern continued, Gibson began to see the trajectory of where circumstances were headed and started looking at how to prepare for what appeared to be an inescapable eventuality. As the film unfolds, with the loving and unwavering support of fiercely devoted partner and fellow poet/writer Megan Falley, Gibson thoughtfully examines matters of life – and impending death – from an array of perspectives, attempting to come to terms with a disease that has been slowly but steadily worsening. In the course of the picture’s time frame, Gibson looks back on a life as an artist and gender identity activist, as well as the challenges of hard-won self-acceptance. The film also shares Gibson’s observations on matters of love, commitment and justice, as well as the resolve to carry on and complete cherished tasks with what time is left. The result is a heartfelt and at times surprisingly humorous portrait of a gifted, reflective individual courageously approaching the end of life with grace and a generous spirit of being grateful for what was and for what remains in whatever time is left. For its efforts, the picture was named one of 2025’s Top 5 Documentaries from the National Board of Review and earned an Independent Spirit Award nomination for best documentary feature. And, even though the picture has a tendency to become somewhat repetitive as it plays out, it nevertheless eloquently embodies the existential intent expressed at the outset of this evaluation, reminding us all to prepare for what’s to come – as well as whatever might come next.
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