‘You say it best, when you say nothing at all.’ Now why am I quoting Ronan Keating? Well, it seemed apt for this review. Given that the (now Oscar-winning) film Moonlight, is a tale where words are used sparingly, so they stand out and have weight. And a lack of words have perhaps even more weight. Particularly these days, when so many films are crammed with endless dialogue, an in-your-face score and flashy editing.
So this film feels distinctly different. And it’s a worthy awards winner, not just because it’s a breath of fresh air in terms of showing not telling a story, but it’s beautifully shot and the score doesn’t hammer you over the head dictating what you’re supposed to feel every five seconds, too.
And subject wise, it’s vitally important. As it’s about a young black man growing up in a poor part of Miami and struggling to come to terms with his sexuality. So it’s something you might expect to win at the Oscars, or at least be in the conversation. But, following last year’s #oscarssowhite debacle, if this film hadn’t won, it would’ve lost to one that glorifies Hollywood’s heyday, La La Land. A film in which a white guy educates/mansplains to a white girl about the merits of jazz (historically black music). So Moonlight winning was big news. It really was. It’s the first ever film with an all-black cast, the first LGBT film and the second lowest-grossing one to win Best Picture at the Oscars. And the film’s editor became the first black woman to be nominated, too. So yeah, big news.
Moreover, if we’re on the subject of talking about subjects on which we’re not an authority, then I’m a prime example. There’s nothing in this film to which I can directly relate. I’m not black or gay and I had a decent upbringing etc. That said, we don’t have to immediately identify with all stories that we see at the cinema, but they have to speak to us in some way and engage us emotionally. And if you’ve ever struggled with identity and loneliness, then this has something for you.
So in terms of the story of this film, plot wise, relative newcomer director Barry Jenkins serves it up in the form of a triptych, visiting the main character, Chiron, at three key points in his life; as a child (Alex Hibbert), teenager (Ashton Sanders), and a man (Trevante Rhodes).
And all are heart-breaking in their own way, filmed in a sort of dream-like, hazy quality, like a nostalgic memory. (I’ve heard someone describe this film as Terence Malick directs an episode of The Wire.) And there’s a grittiness and realism about the whole thing as well, and this extends to the score too, and my Ronan Keating point. Because it’s rare to hear music weaved through a film quite so beautifully and respectfully. In a way that’s not overbearing or intrusive, and in some cases there’s no music at all, which may make you feel uncomfortable, but that’s the point. Some scenes and character moments need that level of discomfort, and Jenkins doesn’t shy away when you might expect him to, letting the camera linger for longer than usual. Which is brave and effective.
He also draws impressive performances from the cast, in particular the three actors that play Chiron are outstanding. Black (Trevante Rhodes) who plays him as a man, really shone, capturing the mannerisms of the two preceding actors astonishingly well. Saying so much with so little. And Naomi Harris as Chiron’s mother also puts in a convincing performance across all three story chapters, squeezing more out of a drug addict role than most actors would manage.
And Mahershala Ali as a father figure to childhood Chiron, adds layers to your standard hardened drug dealer too, breaking down our expectations of masculinity and picking up a Best Supporting Actor Oscar for his troubles. (He’s also the first Muslim to win an Oscar.) He sets up the first third of the movie in terms of the feel and tone and his section, and the last, were, to me, the strongest.
So you’ve really got no excuse. If you haven’t seen this yet. Go see it. It’s important, topical and a vital piece of cinema. It’s also a beautiful story.