Moonlight, one of the most lauded films of the year 2016, depicts a world that feels near inescapable. Set in an impoverished neighbourhood in Miami, our protagonist, a confused, introverted, gay African American boy named Chiron, is trapped in a world where his mother is a crack addict, his role model is the one selling the drugs to her, and he is brutally bullied for not fitting the mould.
The film is broken up into three parts, ‘Little’, ‘Chiron’ and ‘Black’, each a name and iteration of the main character’s life. ‘Little’ (Alex Hibbert) is a shy young boy, introverted and different from those energetic, bombastic kids around him. His mother, Paula (Naomie Harris), is a verbally abusive single mother (though she has moments of maternal caring), stuck in an endless cycle of drug abuse. With no father at home, Little gravitates toward Juan (Mahershala Ali), as well as his girlfriend Teresa (Janelle Monáe). Juan is a drug dealer in charge of those selling on the street corners of the ghetto. A complex figure, he sees that the boy is different and truly wants to give him a hand up, yet is a huge part of the problem. Quiet moments of mentorship and advice abound, like when Little says he hates his mother. Juan, simply states “I bet you do. I hated my mom too. Miss her like hell now, though.”
Things become more complicated during highschool, as ‘Chiron’ (Ashton Sanders) – the name is manipulated to ‘Shy’ron, is further bombarded for not being ‘normal’. Still a fragile youth, he does not fit the thuggish gangster profile that is needed to cruise through school without being targeted. It is a harsh world and inhospitable place. By day, a bully named Terrel (Patrick Decile) targets the sensitive teen, yet even when he enters the seemingly safe place that is his bed, he is ambushed by nightmares of the verbal abuse he has dealt with over the years from his mother. Kevin (Jharrel Jerome), Chiron’s only friend, talks a big game, hiding the same sensitive emotions and feelings that his buddy is unable to suppress.
Approximately ten years later, ‘Black’ (Trevante Rhodes), after spending time in prison (for finally standing up for himself), has now modelled himself after his father figure Juan. Muscular and attired in clothes that scream street cred (including grills for his teeth) – he could almost be a stand in for 50 Cent, he has fallen into the trap of becoming a criminal like so many others who have been brought up on the streets and in prisons. Kevin (André Holland) reaches out to Black (who now lives in Atlanta) after a decade of silence. Will meeting up with his old friend bring back feelings that he has bottled up deep inside, or will he continue on this dangerous path?
Capturing a realism that is hard to ignore, co-writer/director Barry Jenkins ushers us through the tumultuous years of Chiron’s life. . . not with whiz-bangs and pops, but with quiet grace and simple yet effective visuals. Lit in a striking way, Jenkins is able to get the most out of his actors while bathing them in subdued tones. Despite having three actors playing the lead, it does not feel disjointed in its execution. Harris, in an utterly transformative role, is an absolute scene stealer – wholly believable as a drug addict who, despite all her flaws, still tries to care for her child (though fails miserably). Ali is a close second, bringing a gravitas to his performance as the caring drug dealer – in a role that breaks the usual stereotype.
The score must also be highlighted. Composed by Nicholas Britell, the more classically aligned elements (with its soaring violin) are reminiscent of the immense power and beauty found in the work of Vivaldi.
Funnily enough, though this film has so much going for it – a solid story, superb acting, striking cinematography, in many ways it disappointed me much like last year’s Oscar winner Spotlight. Though both bring to light realistic stories that are important viewing experiences, their content is greater than the actual films. It lacks a certain magic, but only because, as in real life, it has to. Despite this observation, Moonlight is an important watch this awards season. So, join the tide of people going to see this independent gem to discover a new twist on the coming-of-age story.