Moonlight (2016) Dir: Barry Jenkins
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As part of a 2024 Pride community event, I decided to watch one of the most highly rated pieces of modern LGBT+ cinema ever, and a film that, until now, I had not yet seen. Considering its critical reception, my expectations were pretty high for what writer and director Barry Jenkins had produced - expectations only affirmed by the knowledge that this was an A24 produced film.
The themes this film and explores, such as fatherhood, identity, loneliness, love, societal pressures, masculinity and of course sexuality, hit on all the viewer's emotions superbly. It was very effective, and made for a beautiful, but at times sobering, watch.
The soundtrack was emotive, sincere and nostalgic. It grounded the character, so that the sounds around him affirm his feelings with the audience. He becomes clearer to see with the soundtrack behind him. It was very satisfying to listen to, and see its effectiveness on the film as a whole, as well as scene by scene.
The cinematography was not spectacular, but it featured some wonderfully composed shots, which framed the characters well, and often lit and shadowed in interesting ways. The use of blue was, perhaps unsurprisingly, a big feature, and one that helped soften scenes, as well as creating stimulating shots.
The three chapters of the protagonist's life are so effective in bringing together the story and shape of the person before us, as well as how life changed him. The narrative they combine to present was enthralling, well-paced, poetically written and intensely emotional. I found myself drawn into the feelings and thoughts of the protagonist, as he tried to navigate his life.
I have to commend all three of the actors who played the different depictions of the film's main character. Alex R. Hibbert has some very powerfully performed moments, considering how young he was. I was so impressed with the emotion he was able to elicit with his facial expressions. Ashton Sanders, in turn, thrived on the internal conflict of his character, and produced a magnificently poised performance. Finally, I thought Trevante Rhodes did a sterling job of showing both the vulnerable and hardened sides of the role. All three were incredible in their own distinct ways.
I was also thoroughly impressed by the supporting performances of Naomie Harris, Janelle Monáe and Mahershala Ali, who were all incredibly good. Harris was so effective at performing her character that it was scary, while Monáe offset that with a cool and maternal softness which was just so comforting. Ali gave one of the best supporting performances I've ever seen, I almost wish I could've seen a whole film of just his character's story as well.
I will also give praise to the trio of André Holland, Jharrel Jerome and Jaden Pinner - who also played the same role in their own way, and each pretty effectively. I was especially fond of Holland's performance - I loved how he interacted with Rhodes. I think the two men played off of one another really nicely.
Overall, this is a breathtakingly beautiful piece of cinema, which incites a variety of emotions through its complex, poignant and quietly romantic story. There's a vulnerability to it, which was both refreshing and intrinsically vital to its effectiveness. I'm glad I watched this as an adult - it felt a lot more personal and imoactful for me, and it deserves its place as one of the best pieces of queer cinema.
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