Susan Morrow is a rich art dealer in Los Angeles who feels empty and stuck. She gets a manuscript from her ex-husband Edward. The story inside follows a man on a Texas road trip whose wife and daughter are taken, hurt, and killed. As Susan reads, she sees their broken marriage in the book, including her affair, their divorce, and the abortion of Edward’s child. The film cuts between her dull present life, the brutal Texas tale, and memories of the past, and it ends with Edward not showing up for a planned meeting.
The film is not built around identity politics. There is a short supporting role for an openly gay art-world husband, and gender shows up in the marriage story and the abortion subplot. The film mocks empty rich art life more than it preaches about representation. Its main focus is betrayal, revenge, regret, and hollow wealth, not a woke message.
Community feedback
Was our 25% Woke rating accurate?
Breakdown
These are the editorial factors and ratings behind our score for Nocturnal Animals.
Woke representation / casting
The lead cast is mostly white and fits elite LA and a West Texas thriller. Michael Sheen plays an openly gay art-world husband in a brief supporting role, and a few minor nonwhite support players appear. The opening nude obese majorettes work as gallery art, not heroic identity casting. There is no clear quota pattern.
12%
Woke political dialogue
Talk centers on regret, weakness versus drive, affairs, and revenge. There are no activist speeches on race, DEI, or identity politics. Occasional gender and class barbs stay personal or satirical rather than slogan-driven.
8%
Identity-driven story themes
The core story is marital betrayal, revenge, and hollow wealth, not an identity-politics thesis. Confirmed LGBTQ presence is background. Gender appears in mixed ways, and the abortion subplot is often read as punitive toward Susan rather than progressive empowerment. Empty contemporary art is mocked more than preached.
22%
Western institutional / cultural critique
The film clearly criticizes rich LA emptiness, status marriage, and cultural hollowness. Gender-norms material and rural white thugs can be read as menace or press-framed toxic masculinity, but this is not a full modern activist doctrine. It is not a sustained anti-Christian, anti-Western, or colonial-guilt project.
25%
Woke character or canon changes
Not relevant. This factor is not relevant as woke or DEI rewrites. Ford’s big changes are adaptation and tone choices. The added abortion beat is often criticized from the left as misogynistic or oddly conservative, not as a progressive canon fix.
0%
Anti-woke backlash and complaints
Not present. There was no meaningful anti-woke or DEI-agenda campaign around the film. Public debate was mostly awards, craft, masculinity readings, and left-leaning objections. Those do not count for this factor.
0%
Creator track record context
Cached scores put Tom Ford around 20 as a gay fashion designer and filmmaker with progressive politics who later criticized cancel culture. Other creatives are near zero, with casting director Francine Maisler moderately higher at 35. The overall score is moderate-low and weighted toward Ford.
18%
Production
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