Available on DVD: "Night Catches Us"

Although he finds himself in it from time to time — such as when he ended up onstage at the Oscars with his Hurt Locker co-stars during last year’s Best Picture presentation — actor Anthony Mackie doesn’t seem to seek the spotlight.

He’s just fine taking quieter, less-flashy roles in quieter, less-flashy films. They’re the kinds of roles that fly under the mainstream radar, but still showcase the actor’s acting chops.

The period drama Night Catches Us is such a film. It represents the rare lead role for Mackie, and he seizes the opportunity, convincingly playing the part of a soft-spoken former Black Panther named Marcus who, after a four-year absence, returns to his hometown of Philadelphia amid the racial turmoil of 1976.

It’s not immediately clear why Marcus moved away in the first place, but we know this much: As he returns to attend his father’s funeral, he’s not particularly welcome — not by his old running partners (who derisively call him “Snitch”), not even by his own brother.

Regardless, Marcus apparently harbors hopes of renewing his relationship with fellow former radical Patty (Kerry Washington).

Both Marcus and Patty have mellowed since he bolted Philly; she has even become a lawyer, joining the system they used to fight back in the day. But try as they might to move on, their shared past refuses to stay buried, as an angry young neighborhood kid (Amari Cheatom) and his anti-police sentiments dredge it all back up again.

Also dredged up: The secret tucked away in the black duffel Marcus carries over slung his shoulder — a secret that first-time director Tanya Hamilton unravels slowly for her audience.

Hamilton earned a nomination in the Independent Spirit Awards’ Best First Feature category, and it’s a well-deserved honor. In addition to directing, she wrote the screenplay for Night Catches Us, and she proves to be a surprisingly mature, patient filmmaker.

Unfortunately, the audiences for Night Catches Us will have to be patient, too. Although it boasts deftly drawn characters and establishes a believable period vibe despite its limited budget (including a funktastic ‘70s score by The Roots), it’s a talky film, one that consistently favors dialogue over action. Aside from a few moments of elevated emotion, Hamilton is happy to let it simply simmer.

If there’s a flaw in her film, it’s that she misjudges exactly how much simmering she can get away with, as her story proceeds in fits and starts.

Still, as a debut, it’s impressive stuff.