The only way to launch a review of Moonlight is to use perhaps the most stale, hollow cliche in a critic’s repertoire: If you only see one movie this year, make it Moonlight.
Of course, you won’t only see one movie this year. You’ll likely rush to the new Star Wars or Doctor Strange or any number of other blockbusters blasted at you by the massive marketing machine of Hollywood. Maybe you’ll see something small, quirky, offbeat as well. But, frankly, it doesn’t matter, so long as you ensure you don’t miss Moonlight.
One of those rare and extraordinary cinematic experiences that pulls you deeply into its narrative, Moonlight () wraps you in a time, place, and mood, artfully guiding you into an emotional payoff without once feeling manipulative or artificial. It is an extraordinary achievement in this cut-and-paste era of cinema, a time when movies fail to ignite so much as a spark of genuine, earned emotion. Moonlight exists in a class all its own. It’s not epic or big, but it is profound and profoundly moving. It’s one of those movies that you can feel changing you. It bores into your heart and infiltrates your soul, and simply does not let go.
The ’80s-set story of a young boy who comes to terms with his identity and sexuality in a harsh South Florida neighborhood refuses to lazily cleave to its genre. While there are points in Moonlight where you expect certain things to happen, the story constantly veers just slightly off track, taking you on an unexpected journey elsewhere. Credit first the source material — Tarell Alvin McCraney’s lyrical play, In Moonlight Black Boys Look Blue. An awardee of the MacArthur Genius Grant, McCraney, whose works have been frequently performed in Washington at Studio Theatre, is an abstract playwright who puts as much emphasis on atmospherics as he does on dialogue. He’s found the perfect partner in Barry Jenkins, a relatively new director, who opens up McCraney’s work, elevating it to an even higher level. Jenkins is a subtle director — perhaps too subtle at times — but his low-key approach suits Moonlight, which forgoes a heavy hand for one encased in a velvet glove. That’s not to say Moonlight is an uplifting or easy film, but through its anguish and anxiety it finds serenity, romance, heart.
The less said about plot specifics, the better. Not that there are any big twists or turns in the film — it’s not a potboiler, but rather a simmering stew whose flavors perfectly meld by the end — but even the tiniest revelations that are peeled back as the story progresses through a three-act arch provide Moonlight its emotional weight. Suffice to say that the central character’s story is told in three distinct parts, as he goes from a young boy to a full-blooded man. The transformation of Chiron — and the instances that cause his internal pain and his longing for something beyond the norm — is depicted with effortless, poetic perfection by Jenkins and his choice of three magnificent actors, Alex R. Hibbert, Ashton Sanders and Trevante Rhodes. The trio embody the evolution of Chiron, from “Little” to “Black,” going from scared and inquisitive kid to a skinny, awkward teen to a silent, disarming monolith of a man with an ache so powerful, it has come close to crushing his humanity.
The stars are supported by an astonishing ensemble. Andre Holland is potent and complex as a former friend with whom the adult Chiron connects with in a powerful diner scene during the third act. Naomie Harris summons up an earth-shattering, mind-blowing performance as Chiron’s mother. And Mahershala Ali, as a drug dealer who befriends the youngest version of Chiron, gives the finest performance of a career comprised of nothing but fine performances. The biggest surprise is pop star Janelle Monáe, who, blessed with natural beauty and warm, compassionate delivery, steals every moment she’s on screen. You watch in awe as a movie star is born before your eyes.
Holland and Rhodes – Courtesy A24
There isn’t an off performance in the film, which employs a solely African-American cast. It’s sad we live in a time where that in itself is a unique aspect of any movie. Come Oscar time, Moonlight could be the one film to give Hollywood a credible reason to break its too-white image without resorting to tokenism. Perhaps other great films will be released between now and the end of the year, but I honestly can’t imagine any being as worthy as Moonlight for every top prize out there.
Moonlight is the best gay film since 1996’s Beautiful Thing, pretty much stealing that film’s mantle. It’s also the best African-American film since 1991’s Boyz in the Hood. It’s been a long time coming on both counts. And it’s been worth the wait.
Moonlight opens Friday, Oct. 28, at the Landmark E Street Cinema in Washington, D.C., at the Angelika Mosaic in Fairfax, Va., and other area theaters.
"Government should either be about making your life better or leaving you the fuck alone," says Malcolm Kenyatta, vice chair of the Democratic National Committee. "That's why I keep talking about making life better, because it keeps what should be our main message at the forefront of our work."
Last month, the openly gay Pennsylvania state representative was re-elected as vice chair with near-unanimous support during a "re-vote" imposed by Democratic leaders. They claimed that his initial election to the position -- along with David Hogg, a nationally known survivor of the 2018 mass shooting at Marjorie Stoneman Douglas High School in Parkland, Florida -- was influenced by factors that unfairly disadvantaged female candidates.
After removing all references to transgender people from the Stonewall National Monument website earlier this year, the National Park Service has now scrubbed mentions of bisexual people as well.
As first reported by transgender journalist Erin Reed on her Erin in the Morning Substack, the change occurred on July 10, when the homepage was updated to read, "Before the 1960s, almost everything about living authentically as a gay or lesbian person was illegal."
Subsequent pages, including the site's "History and Culture" section, were also altered to remove broader LGBTQ references. One now reads: "Stonewall was a milestone for gay and lesbian civil rights," whereas it previously noted that living "openly as a member of the Stonewall comunity was a violation of law."
Laura Loomer, the far-right influencer with close ties to President Donald Trump, claimed during a deposition in her defamation lawsuit against HBO that sources close to the former president told her U.S. Sen. Lindsey Graham (R-S.C.) is gay.
Loomer is suing the network over comments by comedian Bill Maher, host of Real Time with Bill Maher, who joked that she had an affair with Trump. She alleges Maher's on-air remark about her "sleeping with Trump" -- echoing a rumor circulating at the time -- cost her a job in the Trump administration and the political influence that would have come with it. HBO has argued that Maher's comment is protected under the First Amendment, just as Loomer's own inflammatory remarks are shielded when she targets her political enemies.
These are challenging times for news organizations. And yet it’s crucial we stay active and provide vital resources and information to both our local readers and the world. So won’t you please take a moment and consider supporting Metro Weekly with a membership? For as little as $5 a month, you can help ensure Metro Weekly magazine and MetroWeekly.com remain free, viable resources as we provide the best, most diverse, culturally-resonant LGBTQ coverage in both the D.C. region and around the world. Memberships come with exclusive perks and discounts, your own personal digital delivery of each week’s magazine (and an archive), access to our Member's Lounge when it launches this fall, and exclusive members-only items like Metro Weekly Membership Mugs and Tote Bags! Check out all our membership levels here and please join us today!
You must be logged in to post a comment.