Moonlight

We don't learn much about Chiron.  Several viewers of 2016's MOONLIGHT apparently agree, and many of them had a problem with that.  It affected their appreciation of writer/director Barry Jenkins' highly personal film.  Made them feel as if the main character is a cipher, a blank slate, perhaps even unable to be cared for, based on the info we are given.  I do not agree.  Did we really need to learn details about Chiron's interests and tastes? Would this knowledge deepen our interest and possible empathy for the young man, shown in this movie during three stages of his young life?

Jenkins formed this character from composites of himself and Tarell Alvin McCraney, who wrote In Moonlight Black Boys Look Blue, upon which this movie is based.  Both men grew up in Liberty City, an impoverished section of Miami that was the scene of at least two large scale riots.  MOONLIGHT also takes place (and was filmed) among the actual projects  in which the writers grew up.  A place of desperation and hopelessness, with flashes of pride.  Those who live in places like Liberty Square barely wince at the plethora of drugs and fatherless children.  We meet Chiron as a child, nicknamed "Little", and the target of bullies.  His mother Paula (Naomie Harris) is a crack addict.  The youth finds a father figure in Juan (Mahershala Ali), who gives him advice and even teaches him to swim.  The home Juan shares with his girlfriend Teresa (Janelle Monae) provides a haven away from Paula's many face down nights.  Unfortunate that much of Paula's stash was sold to her by Juan, leading to a telling confrontation.

We follow Chiron through his teen years.  It is during high school that he begins to understand why he's not like other boys.  A key moment with his friend Kevin (Jharrel Jerome) might provide clarity, or just add to his confusion.  Bullying at school continues, leading to a (perhaps) life altering climax.   By Act III, Chiron is now called "Black" and has relocated to Atlanta.  Ten years have passed. He is no longer the shivering skinny boy.  And yes, we still don't know much about him.

But on reflection, that's what makes MOONLIGHT such a fascinating film.  The deliberate storytelling allows us to formulate our own ideas about Chiron's quiet moments. His thoughts.  Trevante Rhodes gives the adult version of Chiron a visage of mystery, much like Ashton Sanders and Alex Hibbart do with the younger incarnations.  We forever try to read that face and his body language, and for me it was enough. Jenkins' bathes his film in contemplation as much as color (and James Laxton's photography is splendid). Chiron may pass through life like millions of others who fade into the scenery.  Perhaps products of bad home environments, never given a proper role model.  Perplexed about gender roles.  Maybe just shy by nature.

MOONLIGHT, voted Best Picture of 2016, does have a few elements that seem constructed for an Oscar, including a meeting between the adult Chiron and his mother, but the acting there and throughout the movie is fine.  Jenkins has created an early life portrait for patient, thoughtful viewers.  The tenderness of certain scenes is uncommon in many contemporary movies and worthy of praise.