Riding a wave of positive buzz provided by the many film
festivals where it was greeted with numerous accolades, Barry Jenkins’ Moonlight arrives in theaters with the
onus of not only having to live up to the hype but also breaking a losing
streak where independent features are concerned. Thankfully, the movie delivers all we’ve been
led to believe it would, and while it may not set the world on fire at the box
office, the many Oscar nominations and other awards that will surely come its
way will hopefully heighten interest in the film.
Made up of three distinct acts, the movie follows the
development of a young African-American homosexual boy living in an
impoverished section of Miami. Each
section features a different actor in the role, with the character referred to
by a different name in each to note how his identity changes over time. On the surface, this seems to be a expedient
casting decision but this approach reaps great dividends as each actor brings
nuances all their own that are unique to the character as they play him which
ultimately contributes to a complete, well-rounded characterization.
Act I focuses on Little (Alex Hibbert), an introverted young
boy whose single mother (an excellent Naomie Harris) is fighting a losing
battle with drugs, often leaving her son to fend for himself. Often bullied, the boy eventually crosses
paths with Juan (Mahershala Ali), a drug dealer who briefly takes him under his
wing. Act II moves on to Little’s high
school years, where he goes by his given name Chiron (Ashton Sanders). Wrestling with his sexuality, the young man
is still the subject of horrific bullying though he seemingly finds an ally in
Kevin (Jharrel Jerome), who provides a shoulder for Chiron to lean on, as
shares with him his first sexual encounter.
Act III finds Chiron as Black (Trevante Rhodes), who has followed in
Juan’s footsteps by pushing drugs on the streets where he lives. Aimless and without direction, a phone call
from Kevin (Andre Holland) ten years after their last encounter may offer a
sense of salvation he so desperately needs.
There’s a degree of quiet about the film that speaks to the
character’s isolation, while Jenkins employs close shots of his three leads
which has the same effect. While the
approach may not be one that screams to the heavens, the message the movie
contains surely does.
More than any other film in recent memory, Moonlight speaks to the plight of young
black men trapped by a lack of economic opportunity, unwarranted suspicion and
unstable homes. While Little’s quest is to find his own identity, it’s a search
that remains unresolved at the end. It’s
no surprise that his moniker changes throughout, as he remains unsure of who he
is and where he belongs. Jenkins’ final
shot is a haunting one as it simply and effectively drives home the sense of
limbo Little and so many like him are suspended in today. If he will ever find
his footing remains in question, though the director does provide him with a
piece of well-earned, genuine hope.
This article appears in Dec 1-7, 2016.
