Moonlight features a black man’s face as its landscape, divided into three slivers of different shades – from turquoise to amethyst to black. Little do you know, the face is cleverly depicting the faces of one man from boy to teen to man. Intricately and intensely, this becomes the very arc of Moonlight, the moving art of identity, family and masculinity.
The little boy we first encounter is known as Little, whom Alex Hibbert heartbreakingly composes with a depth of loneliness and fear that will bring tears to your eyes. Bullied by school kids, chased into hiding and neglected by his troubled mother, Little stumbles upon Juan, played by Mahershala Ali, who takes him in to safety with him and his girlfiend. What follows is the journey of one boy into adolescence and then manhood, battered by fears of belonging, fears of living and ultimately fears of his creeping identity.
These three age structures first composed by Tarell Alvin McCraney, inspired rising director Barry Jenkins, of Dear White People, to create an intricate masterpiece of an almost Black Lives Matter context, illustrating abuse and torment on a backdrop of poor black communities, drugs and violence. But in spite of the harsh complexities of Moonlight, Barry Jenkins finds a tenderness and compassion that could take your breath away. The search for manhood has never been so thoughtful or moving. But of course, Nicholas Britell’s score transports the visual beauty of Moonlight into more than just a story, but a dreamlike sphere, where single moments are filled with power, melancholia, liberation and pre-eminence. Illustrated with superb intensity, each moment is powerful in itself.
“I wasn’t never worth anything. Never did anything I actually wanted to do, all I could do was what other folks thought I should do. I wasn’t never myself.”
The diversity of Moonlight’s visual poetry has a gentle ability to transport viewers into a hidden world with honesty and tenacity. Barry Jenkins has delivered a powerful film.
Imdb – 8.2/10 Rotten Tomatoes – 98%