With a strong political climate, it is not surprising that when the films nominated for the 2017 Oscar were announced, many of the opinions were not directly about the quality of the productions, but of what they represent in society.
When Moonlight: Under Moonlight by director Barry Jenkins was nominated for an Oscar, many saw the potential for African-American films to be winners of the Academy’s most coveted award. However, such issues, whether important or not, can often hide the quality and merit of a production that in itself reveals aspects of the lives of people who are part of a minority but who suffer and yearn for something that everyone we want: human affection.
This is the case of Moonlight, who can drown in the hectic sea of controversy and controversy. Of course, that movie is not for everyone. For starters, its theme is adult. Unlike La La Land, which has the hopeful tone of a musical, Moonlight functions as a beautiful poem in three verses, which show the anguish of Chiron (played by Alex Hibbert, Ashton Sanders and Trevante Rhodes), from childhood to adulthood. But all the time, the confusion and embarrassment of being homosexual and the constant lack of affection he feels never ceases.
At each stage of the story a title is given referring to the name that most represents the protagonist in the different moments of his life. Thus, the first part is titled “Little”. Here we meet Chiron, an embarrassed, introverted child who suffers bullying in a poor neighborhood in Miami. At this time, Juan (Mahershala Ali), a drug dealer who welcomes and protects Chiron and becomes a paternal figure for him, is also presented. The contrast between a shy boy in a violent world, as well as between a dangerous criminal and his affectionate personality towards the boy, is part of the background of Moonlight, a film that shows a world full of contradictions where it is not easy to follow a path clear and certain. After all, Chiron does not have the help of his mother, who is addicted to crack and can not create it. On the other hand, the character counts on the friendship of Kevin (Jaden Piner), a young man of the same age of his, but with a more brave profile.
The second part of the film is entitled “Chiron”, representing the moment when the boy begins to understand his reality, as well as himself. He continues to suffer from bullying and things start to worsen as his mother, who needs help from her teenager to survive, remains addicted to crack. It is at this stage also that Juan, his father figure, dies. And from there Chiron begins to discover his sexuality next to Kevin, his childhood friend. However, any attempt to understand what his role in the world is destroyed moments later, when Kevin, pressed for bullies, harasses Chiron for the amusement of others.
The final part of the film is titled “Black” (Black), when the protagonist is already adult and the opposite of what many imagined. Chiron becomes the stereotype of his neighborhood. He is a strong drug dealer and the past seems completely erased until he receives a phone call from Kevin (now played by André Holland), which makes him relive many memories of his teenage years. When they meet again, it is difficult to know what will prevail, violence or friendship. After all, Chiron was humiliated at the most difficult stage of his life. However, Barry Jenkins gives us a tender moment between two friends, who faced more than other teenagers could handle.
The film is marked by the use of contradictions, which show how impossible it is to characterize a person in a simplified way. The choice of the picture and the soundtrack is in accordance with this narrative. While the acting is realistic, the scenes have vibrant, strong colors. Hip hop and R & B are part of the protagonist’s life and classic songs are intercalated in an unexpected way. Even the style of the film, reminiscent of In the Mood for Love (Asian production directed by Wong Kar-Wai) due to the palette and use of slow motion, contrasts strongly with what is expected of the genre. The result is a true poem, where each of the parties is in conflict and harmony.
Barry Jenkins was nominated for best director for the film not only for the Oscar, but also for the Golden Globes and Director’s Guild of America. Winning prizes or not, being part of the voice of one group or another, Moonlight: Under the light of darkness conquers what few have accomplished in recent years: show complex and contradictory characters in a very specific story. Jenkins, who has put so much of his own life in the film, can point out that everywhere, society and culture, regardless of taste and preferences, are all complex human beings in search of love.
(article translated from the original version in portuguese, by Google Translate)