Moonlight

Definitely the most beautifully constructed body of work of the year. This aesthetic, wonderfully directed and edited piece of video keeps it compelling from the very start to the end, as Mr. Jenkins proves for the first time he is a genre virtuoso, whose screenplay is plaintively artful and remains outstanding all over the film, a combination that delivers a masterful, at times unsettling filmmaking of immaculate ecstasy. Allow me to say something short and simple as it should be: this — ladies and gentlemen — is the movie of the year. This, is the story of a lifetime.

[9.8/10] Growing up is hard enough. Figuring out who you are, figuring out the balance on what’s in the core of your soul and what parts of it you’re willing to share with the world is a difficult endeavor under the best of circumstances. Throw in the difficulties of living in a household of addiction, of a sexual preference that earns you additional scorns, and an already fraught journey becomes a cruel and unforgiving one.

Despite the harshness of these difficulties, *Moonlight* finds the beauty forged within that crucible, the kindnesses large and small, the transcendent moments and connections, that help a sweet, put upon young boy have something to hold onto as he becomes a man. It is, despite the aesthetic pleasures of its gorgeously shot scenes, at times an ugly, dispiriting film, but ultimately a life-affirming one, centered on the unique challenges of its protagonist, struggling to define himself, and finding his way among the pitfalls and gentler paths of growing up.

It is a lovely (and to my mind, superior) companion piece to Richard Linklater’s *Boyhood*, another coming of age tale told in pieces with a reserved but introspective bent. Certainly, the circumstances of Chiron and Mason are markedly different. And *Moonlight* does not share *Boyhood*’s ambitious ten-year film schedule, instead relying a trio very talented actors who manage to turn three separate performances into one remarkably unified character. But both gain strength and meaning from the contrast of who the young men at the center of these films are at various points in their development, and how they explore what lessons, ideas, modes of being, stick with them or come back later in life, and what falls by the wayside.

It is a film that is both strikingly specific but also universal. Director Barry Jenkins does well to explore the particular hardships of being stuck in the middle of a parent who doesn’t know how to deal with her son’s differences and labors under an addiction and a mentor who accepts those differences, who guides this young man and gives him tools to survive, but who also feeds his mother’s dependency. *Moonlight* also succeeds in its focus on Chiron’s fraught attraction to his best friend, Kevin, bound up with all the fears and insecurities of teenage affection, with the added challenges of homosexuality and race that deepen the sense of unsteadiness, self-doubt, and betrayal that come with such steps into adulthood. There is a specificity to these threads, a depth and particularity to Chiron’s unique struggle through uncharted waters.

And yet, it is rooted in such recognizable emotions and motivations that the film transcends his individual story at the same time it embraces it. *Moonlight* explores the perilous effort to define yourself – in relation to, in opposition to, in the shadow of blessings and pain – from the misfit kid who doesn’t know where he belongs, to the troubled teenagers who find comfort but make their choices, to the adult who remakes himself in a loved one’s image. That struggle is an eternal one, one experienced by everyone, even as its given poignant life in one young man’s story.

The most universal, heartening, and at times heartbreaking aspect of *Moonlight*, however, is that it is also a love story. As much as the core of the film is about Chiron’s development, about the man he would become and the boy he was to get there, the heart of the movie is in the relationship between him and Kevin. In their gentle companionship as children, to their shared vulnerabilities and comfort on the beach in adolescence, to their cautious but tender reunion as adults, *Moonlight* depicts one of the most complicated, most believable, and most compelling love stories to make its way to celluloid in years. There is a truth in the pair’s few tentative steps, in the hesitant way their romance moves forward and crumbles in turn, and the baggage and lives lived that hang in the background as it’s rebuilt, that gives it a force unmatched.

The shape of that love story is given form by the incredible art direction, editing, and cinematography in the film. At a time when where the two stand in relation to one another is very uncertain, *Moonlight* lingers on images of Kevin lovingly preparing a meal for Chiron. The warmth of the process, the tactile effort of it, become the focus in a fashion that tells you everything about how Kevin feels without anyone needing to say it. At other point, the camera swirls around, giving you a view of the tumult in this corner of Miami and the man at the center of the orbit. And by the same token, the film’s use of color is outstanding, with crisp blues that stand for the choices confronted Chiron, as outlined by the man who takes him under his wing, often isolating it amid white space or primary colors. There’s a warm naturalism in how the film is shot, where every hue pops and a gentle glow that permeates moments harsh and beautiful.

But all that beauty is in service of what is, unassumingly, a tremendous ensemble film. As the film passes through the years, only Naomie Harris (who gives an incredible performance as Chiron’s mother Paula) appears in all three segments. And despite their comparatively brief appearances, Janelle Monáe and especially Mahershala Ali make big impressions as the early lights in Chiron’s life. But with that lack of continuity, it falls to the tripartite collection of actors who portray Chiron and Kevin at different points in their lives to carry the whole, and each rises to the occasion. There is a unity to these two young men, from youth to adulthood, a cohesiveness to their struggles and their character even as each changes dramatically, that speaks to the overwhelming talents of the actors young and old, and the quality of the writing that support them.

*Moonlight* is simply a superlative film, one whose merit and impact, I must confess, are hard to capture with the clumsy implements of the written word. It is wide in scope, spanning years and grazing eternal truths, but also focused and succinct on the compelling story of Chiron and committed to providing a glimpse of his inner life. It shows harrowing events in gorgeous ways, and tender moments with artistic care. It is a film about who we are, and who we choose to be, that finds power and beauty in the spaces in between.

“Moonlight” is the kind of movie that doesn’t need great events, twists, a breathtaking climax, to support the narrative. It’s delicate and sensitive in the right measure, discussing important topics (bullying, homophobia) and leaving its mark.

one of the most devastating movies about being an oppressed young, black, and closeted gay man in America ever.

it’s a story that needed to be told.

and it was told perfectly.

Man what else is there left to say? One of my all time favorites. Every major character is so human, neither demonized or sanitized or flattened. All delivering career and generation defining performances, from Ali to Harris to Monae. The things Ali does with his eyes when he’s comforting Little, trying to navigate his way through something he never prepared for but with full earnestness and heart… and the way he crumbles when called out on his part of Little’s mother’s situation. Harris destroys in two opposite directions, first with her demanding money and then her final monologue, delivering both with equal aplomb and interiority. She makes damn sure she’s not playing a caricature. And Monae is so earnest and caring.

But of course the center of the movie is the Chirons and Kevins. Perfectly casted so they feel like the same person over time, the chemistry between each paring is unreal. Rhodes and Holland leave you smiling the whole time they’re flirting, it’s so good. And your heart aches for Sanders and Jerome, navigating their sexuality and being closeted in different but equally stifling ways. Each Kevin actor is drawn to Chiron, deflecting and redirecting but never disengaging until they can’t resist anymore. Holland is so soft and charming. And Rhodes pulls the heartstrings with his last confession.

On top of all that the lighting is gorgeous, still rarely matched today. Gorgeous, unforgettable shots. Immaculately paced so you don’t even notice it’s almost hours. Moonlight is functionally a flawless movie, and I’ll come back to it for the rest of my life.

why did i watch it this much late 😞
now im going to search all soundtracks and add them to my list cuz all of them yes all of them were G O R G E O U S

This is a perfect movie. Simple as.

People told me this was amazing. Actually a lot of people. But wow, nobody warned me this was going to be emotionally striking. Praising this movie for being powerful is just an understatement.

Moonlight is one of best character study movies I've seen this year. The directing, the writing, score, and especially the acting is what this movie so freaking brilliant.

Director Barry Jenkins shot this movie in a very different and unique way. And I say "unique" as how this movie was filmed in a shallow depth that made the whole thing pretty intriguing. I wouldn't say he's directing is complete perfectionist, as there's plenty of room for improvement. Even if you don't like the choices he picked for a scene, but keep in mind that this doesn't equal bad directing. Lets not go that far. You can see that there's talent and he got a lot out of fantastic performances from all the actors.

Alex R. Hibbert, Ashton Sanders, and Trevante Rhodes all did a phenomenal job playing Chiron (the main character). Each of the actors builds on their character that the previous actor did. Despite the changes and the transformation, not once did you see a different person. There was never a moment where I didn't believe in a actor was giving a 100% their all or wasn't invested in the role. In my "A Monster Calls" review I said how great child actors are very rare in big budget movies, but not in indie. Several kid and teenage actors were all pretty fantastic in this, which is quite the accomplishment.

Naomie Harris and Mahershala Ali were both outstanding in this movie. It's one of performances I've seen from them. Even through their screen time is shot as Hopkins was in "Silence of the Lambs". And that's kinda impressive. Both manages to give anything in a small matter of time. It's really mind blowing and a real challenge.

But what really surprised me the most was Nicolas Battelle beautiful violin score. Why this took me by surprise is because who's expecting a score like that from a movie that takes place in a gangster ghetto setting. This movie is more of a personal film of are main characters experience than anything else. So music like this fits perfectly and I'm glad it didn't go for a terrible R&B song for once.

The writing is just top-notch and if you're an inspired writer, you should take notes from this. This is how you write great characters. Nothing cartoonist or anything that's one-dimensional. All the character's feel fleshed out and so natural to the point I forgot it was acting. And the best thing I can say about the film is that isn't predicable. I honestly didn't know where the story was going.

When I called this a "character study film", that's because of the arks the main character goes through that leads to the next scene. It starts off with Chiron as a shy child living in a crime ridden neighborhood in Miami with his crack addict mother. This leads to him meeting Juan (Mahershala Ali), which leads to him taking a lot from him (appearance wise) when an adult. Him being bulled at school leads to him being buffed, strong, and confident so none can pick on him ever again. But at the same time, he's hiding himself even more by being something that he's not. He acts gangster and talks in a American slang that I bet he doesn't fully understand. You can say different arguments to this, but how I see it, he's just getting better at hiding of who he really is. It's are journey through life that defines us as human beings. Same goes to the rest of the characters. I don't know about you, but that's pretty upsetting.

You know, for awhile I was pretty close of giving "Moonlight" the perfect rating that I never thought would happen. But what stopped me is the little flaws. Some of the editing choices didn't really hit at times and lucky it didn't happen too often. I also notice some sound errors in a few parts, but it's only tiny.

Overall rating: "Moonlight" is an original film that stays away from following a predicable path. I thought this was absolutely mesmerizing and was quite the experience that I didn't expect.