Some movies are huge spectacles, with stunning
special effects and mythic characters who
hold the fate of the universe in their hands.
On the other end of the spectrum are more
intimate films,
with complex characters navigating their everyday
lives.
But just because the scale is smaller, it
doesn’t mean they’re any less powerful.
Today we’re going to talk about one of those
movies, whose fresh subject matter, unique
structure, and well-crafted filmmaking made
it one of the most celebrated movies of 2016.
It’s time to dive into Moonlight.
[Intro Music]
Moonlight was loosely adapted from an unproduced
play by Tarell Alvin McCraney called In Moonlight
Black Boys Look Blue.
And it marks the second feature film from
co-writer-director Barry Jenkins.
His first feature was the 2009 romantic drama
Medicine for Melancholy.
That film stars Wyatt Cenac and Tracey Heggins
as a pair of 20-something black Americans
after a one-night stand.
It’s a rumination on identity, race, and
intimacy.
For his second film, Jenkins chose to tell
a story that tackles similar themes, but with
a harder edge and more emotionally torn-up
characters.
Centered around three pivotal moments in the
life of a young black American gay man, Moonlight
is as much about performed masculinity as
it is about growing up gay.
And in both cases, it sets out to challenge
commonly held stereotypes of black men.
The film follows its protagonist Chiron from
boyhood through young adulthood in the dilapidated
housing projects of Liberty City in Miami.
The first part follows Chiron as an extremely
withdrawn young boy, played with expressive
silence by Alex Hibbert.
He comes into the orbit of a local drug dealer
named Juan, who briefly becomes a sort of
father figure.
The second section of the film picks up the
story in high school.
Chiron, now played by Ashton Sanders, has
become a lanky teenager, and is only moderately
less shy than before.
His bullies have grown up too, and now seem
much more threatening.
And in the third and final section of the
film we find Chiron in his mid-twenties, a
hulking mass of muscle.
Played by Trevante Rhodes, the grown-up Chiron
has seemingly hardened, spent time behind
bars, and now works as a drug dealer in Atlanta.
The filmmaking in Moonlight is extremely subjective
to Chiron’s experience.
Jenkins doesn’t just tell his story, he
makes us feel it.
Film is an incredibly effective medium for
exploring a character’s perspective, using
the same tools that create the illusion of
reality.
This happens more directly when a film cuts
from a character’s face to a shot of what
they’re seeing.
But it can be more subtle as well, using cuts
to flashes of a memory as it intrudes on the
present, or camera movements to emphasize
a character’s internal feelings.
In Moonlight, Jenkins harnesses everything
from the shots and the mise-en-scene to the
editing and the sound to give us access to
his otherwise opaque main characters.
Chiron needs protection and guidance, and
Juan, played with grace and moral heft by
Oscar-winner Mahershala Ali, steps into that
void.
He really sees Chiron, without pity and
without judgement, and teaches him how to
navigate everything from his own identity
to the bullies that terrorize him after school.
In particular, there’s a moment when Juan
takes Chiron to the beach and beckons him
to come into the water.
The camera stays with Chiron, holding on him,
pushing in as he decides what to do.
In that hesitation, and that subtle camera
move, we understand the competing desires
in Chiron’s head — he wants to join Juan,
but is desperate not to make himself vulnerable.
Once he’s in the water and Juan is teaching
him how to swim, the filmmaking turns subjective
again, jump-cutting between shots as Chiron
gets the hang of it and even begins to enjoy
himself.
It’s almost as if he’s been freed from
the long takes, along with his hesitance.
Jenkins is also underlining the fact that
Juan isn’t just teaching Chiron to swim,
he’s showing him how to take charge of himself,
how to keep himself afloat.
Juan is giving him the confidence to trust,
to accept help, and to make human connections.
There are ways to shoot the scene where it’s
simply a man teaching a boy to swim.
But through subjective camerawork and editing,
the filmmakers also show us what it means
to the characters.
In addition, the scene challenges several
stereotypes of black American men.
First, Juan’s compassion is the opposite
of the harsh, violent depiction drug dealers
often get in mainstream films.
And second, black Americans have historically
been systematically and disproportionately
not given opportunities to learn how to swim.
As is so often the case in Moonlight, the
filmmakers are taking on more than one stereotype
at a time.
Now, a film’s style can often be broken
down into two rough categories: realism and
formalism.
Realism refers to a style in which cinematic
techniques like shots, cuts, mise-en-scene,
and sound are meant to be as unobtrusive as
possible.
The whole idea is that the filmmaking tools
go largely unnoticed by the audience, allowing
the story and characters to take center stage.
Formalism, on the other hand, is a style in
which those techniques clearly and deliberately
alter our perception of the film’s reality.
Things like slow motion or reverse photography,
obvious manipulation of the film’s sound
or color scape, discontinuity editing, and
using jump cuts or repeated shots.
These techniques all draw attention to themselves.
In formalist films, the form takes precedence
over the content.
Think about the wild, operatic camerawork
and editing of Martin Scorsese’s Raging Bull.
Or the curated, almost caricatured worlds
created by Wes Anderson in films like Moonrise
Kingdom
or The Grand Budapest Hotel.
While some films lean heavily into one style
or the other, most mainstream movies contain
elements of both.
And Moonlight is no exception.
Jenkins captures much of Chiron’s experience
with realist techniques.
Handheld shots follow Chiron as a young boy
as he runs away from his tormentors.
Natural lighting fills the scene when Juan
finds him sitting outside his house.
The movie cuts traditionally back and forth
between a teenage Chiron and his mother Paula,
fiercely portrayed by Naomi Harris, as she
demands money during her tragic downward spiral
into drug addiction.
In these moments, Jenkins tries to keep the
filmmaking out of the way, to give us a sense
of being there in the room with the action
and watching it unfold.
But then – especially at pivotal emotional
moments – the film moves into a much more
aggressively formalist style.
As a teenager, at least one other kid seems
to get Chiron and has known him for years.
Kevin, played by Jharrel Jerome, presents
himself as confident and gregarious.
He’s as at home in his own body and persona
as Chiron is awkward in his.
Chiron and Kevin share an intimate moment
one night on the same beach where, years earlier,
Juan had taught Chiron how to swim.
Chiron opens up to Kevin for the first time,
and the scene turns intimate.
They kiss, and then Kevin takes things a step
further.
During this romantic encounter, the shots
become almost impressionistic.
The camera captures their profiles and silhouettes,
leaned in close, Chiron’s head on Kevin’s
shoulder.
Chiron’s hand grips the sand, and Nicholas
Britell’s wondrous score takes over.
Again, the movie is challenging how cinema
usually presents black American men, usually
macho or brutal — but not vulnerable.
Here, Chiron and Kevin open up to one another,
sharing fears and hopes, and then engage in
a tender, sexual relationship.
Back at school, one of the bullies taunts
Kevin into beating up Chiron to prove his
own masculinity.
Afterwards, Chiron sits in an office, listening
to the principal lecture him.
He cries, breaking for the first time, then
tunes her out.
The sound of her voice literally drops out
of the scene, and the camera moves low to
catch Chiron’s hardening glare as the sound
design ramps up in intensity.
In moments like these, Jenkins breaks the
realist tendency of his film, masterfully
drawing us into his character’s heart and
mind.
It’s an especially smart decision given
how interior the film is.
Jenkins uses many of the tricks of cinema
to help us understand Chiron’s constant
struggle to reconcile his identity with the
world around him.
And it’s his struggle to be himself, a gay
black man in America, that drives the emotional
narrative of the film.
Cinema scholar J. Ken Stuckey argues that,
“masculinity in its various forms is the
main antagonist of this film.
One of the most difficult aspects of being
gay is the way in which one’s sexuality
can telegraph itself against one’s will,
even before puberty.”
We see Chiron strive to fit in with other
boys his age, all playing a makeshift soccer
game in the movie’s first part.
The camera gives us Chiron’s point of view
as the boys stare at him – and therefore
us!
We feel the weight of their eyes.
It’s off-putting, menacing even.
In fact, among those boys it’s only Kevin
who truly sees Chiron as a person, rather
than some kind of “other” to be made fun
of.
And when Kevin and Chiron wrestle on the ground,
Jenkins revels in their connection.
The film takes its time with this moment,
giving us dislocated shots of their hands
and legs, bodies grappling with one another.
They seem somehow both trapped and free.
It’s a powerful visual metaphor for Chiron’s
central struggle — pushing and pulling against
the expectations of his community and the
stereotypes attached to his gender and sexual
identity.
And it sets up what’s to come.
As an adult, in the third part of the film,
Chiron’s taken on so many signifiers of
traditional masculinity, he’s almost unrecognizable.
In addition to his muscles, he wears gold
grills over his teeth, carries a gun, and
banters easily with one of his drug-dealing
underlings.
He even has a miniature crown on his dashboard,
just like Juan had in the opening.
Chiron visits Paula in rehab, where she begs
his forgiveness, blaming herself for the way
his life has turned out.
Paula: But your heart ain't gotta be black like mine, baby.
Paula: I love you, Chiron.
Paula: I do.
Then, after an out-of-the-blue phone call,
Chiron drives down to Miami to surprise Kevin
at the restaurant where he works.
The two haven’t seen each other since their
altercation back in high school.
Their conversation shifts in tone from awkward
to inquisitive to intimate and back again,
as they catch up on the past decade.
But more importantly, they’re re-negotiating
the terms of their relationship.
Bit by bit, Chiron’s masculine posturing
falls away.
He’s the same complex, vulnerable character
we’ve come to know throughout the film.
And, once again, he breaks away from the stereotypical
black male that’s portrayed in lot of media.
In the end, the two return to Kevin’s house,
where Chiron shares that he hasn’t been
touched by a man since that night on the beach
with Kevin.
Chiron: You're the only man that's ever touched me.
The film ends with an intimate scene — Chiron
cradled in Kevin’s arms — and a brief
shot of Chiron as a boy standing on the infamous
beach, looking back at us.
And at himself.
So there’s no denying that Barry Jenkins’
Moonlight is as thoughtful as it is elegant
and compassionate.
You might appreciate it as an exquisite coming-of-age
story told in a unique way.
Or as an exercise in how formalist cinematic
techniques can root us in a character’s
point of view.
The film takes on all sorts of stereotypes
and assumptions about black American masculinity,
as well as complex themes of sexuality and
self-acceptance.
And it does it all with a skill and immediacy
most films ten times its size never get near.
Sometimes it’s the little movies that pack
the biggest punch.
Next time, we’ll travel to the heart of
Africa for the tale of a child soldier struggling
with his own larger-than-life father figure
in Cary Fukunaga’s Beasts of No Nation.
Crash Course Film Criticism is produced in
association with PBS Digital Studios.
You can head over to their channel to check
out a playlist of their latest shows, like
Deep Look, Origin of Everything, and Eons.
This episode of Crash Course was filmed in
the Doctor Cheryl C. Kinney Crash Course Studio
with the help of these [nice people] and our
amazing graphics team is Thought Cafe.
