One can state the film Moonlight, provides an overall new yet refreshing aspect that today's culture would truly grasp from. This film works to portray the results of a life that goes against cultural norms, while shedding light on the culture of the African American community without villainizing these fixed opinions. In which this portrayal is shown through the eyes of the main character throughout different developmental stages in his life. Moonlight not only exposes the struggles of a young man within a broken home, the taboo of homosexuality within the black community; but more importantly shows the effect this all has one own development. The vivid storytelling, in conjunction with the dynamic cinematography, not only breaks the mold but also has through its appeal to the emotions of the viewer open them to a higher empathic and sympathetic experience.
Base on the story “In Moonlight Black Boys Look Blue” written by actor and playwright Tarell Alvin McCraney, Moonlight screenplay becomes a collaboration in personal experiences that Barry Jenkins the director of the 2008 film “Medicine for Melancholy”, had in conjunction with McCraney. Both share similar path of life; struggling with their mother’s drug addiction, living in the same neighborhood in the 1980s located in Liberty City, Miami, Florida. Known for poverty, racial discrimination, and aversion towards homosexuality among the African American community.
McCraney also wanted to tell the story of people whose help we receive while growing up, people that comes to our life and shape who we are. As he recalls a memory from his childhood, “A drug dealer taught me how to ride a bicycle when I was a child”. Moonlight expose those that with their gestures help us in different path of our lives.
The story is told in three chapters, in each we can see how Moonlight radiates with expression in the structure of storytelling, cinematography and sound, the combination of these makes the film a masterpiece in composition, making an intimate story to connect the audience with the trajectory of his protagonist, Little, Chiron and Black, one person in three states of his life.
Barry Jenkins worked with director of photography James Laxton with whom he studied in college at Florida State University. Laxton worked as cinematographer in four of Jenkins short films back in the early 2000s, including “Medicine for Melancholy”. Knowing each other’s work style help them come up with the decisions, on how aggressive esthetically the film would look.
Filmed with one single Arri Alexa XT camera through the film, we can see in each chapter how the camera becomes a protagonist with a clear purpose, expressing each character personality and feelings.
By making choices to place the camera in between actors, this gives the audience the opportunity to be included in the moment, in a more personal perspective. For the character of Juan, played by Mahershala Ali’s, the camera moves smoothly and freely, representing his personality as a drug dealer, showing his status and calmness.
In Little’s first appearance, we see something completely different; fast movements that shows discomfort with shaky handheld camera, that tells us how unstable and insecure he is, adding to this the sound from outside where he hides, this first scene shows his fragility, and how trapped and terrified he is.
In other scenes, the fluidness of the camera, panning smoothly between character’s without cutting, also show us the type of relationship there is between them. It gives us calmness and the feeling of safety as for Little’s point of view to specific characters.
Circular camera movement around characters, mixed with classical music composed by Nicholas Britell, magnifies the feeling of been included in a group, expressing relief and happiness. Then we see the same circular movement menacing, as it focuses in one character at a time.
The combination of the camera and the sound work together, when they disjoint from each other depicting the erratic state of Chiron’s drug addict mother, Paula (Naomie Harris). As she speaks in front of the camera, we hear her voice out of sync with her lips while talking with her son. Then, we see the disconnect between the character and her surroundings.
The same technique is use when Chiron (Trevant Rhodes) reunite with Kevin (Andre Holland) at the dinner, this time the sound disjointed from the camera creates a more intimate feeling, a deeper connection between both of them. This particular scene is one of Laxton favorite, as he prides himself for accomplishing an esthetical look and camera movements, that matches the intentions and thoughts of the characters.
Even in his adulthood, we can observe Chiron’s reactions, been expressed the same way he did when he was a child. This shows you that deep down he is the same little boy: afraid and insecure. Shoots from behind him were used to give us the ability to reach out for his inner emotions in his trajectory, as he fails to see himself truly as he is.
In each scene the colors play major roles, specially the warmness of the light that James Laxton decide to use for the actors. He chooses to used oils instead of traditional powders to bringing out their natural colors and the complexity of their skin, under dimed fill lights. Creating the humidity that kisses the skin of those living in Miami, with a more delicate aspect.
The main goal in Moonlight cinematography, was not to concentrate on a realistic view but to elevate each moment in the life of Chiron; to paint a depiction of his inner feelings, and express each intricate layer of characters like Paula. The music and sound also helps add another dimension to this artwork, with the responsibility of helping enhance the characters emotions, and conveying feelings without words to the audience. All of these tools: the vivid storytelling, cinematography, music compositions and sounds brings the viewer into world of the film
The combination of Nicholas Britell’s talent as a film score composer, the cinematographic decisions from James Laxton, Barry Jenkins personal experiences and direction, and the actor’s commitment to each of their characters with compassion for their stories, rises the emotions in each individual scene presented in Moonlight, showing us a more artistic and raw side of Miami, giving life to Tarell Alvin McCraney story.
Bibliography
“Moonlight: Behind the Making of the Oscar-Nominated Movie.” Time, Time, time.com/behind-the-visuals-of-moonlight/.
ScreenPrism, The Take by. “Moonlight Explained: Symbols, Camera & More.” YouTube, YouTube, 26 Feb. 2017, www.youtube.com/watch?v=Ot9DX5S8aHk&t=6s.
DP/30: The Oral History Of Hollywood. “DP/30: Moonlight, Cinematographer James Laxton.” YouTube, YouTube, 12 Jan. 2017, www.youtube.com/watch?v=Dtn-B869-xc&t=147s.
Originals, TIFF. “BARRY JENKINS - With the Team That Made Moonlight | TIFF 2016.” YouTube, YouTube, 29 Oct. 2016, www.youtube.com/watch?v=NDa1IHqQdWk&list=PLxCMpkZ095vBZaIZZmIS4GIJPeIRl-sKF&index=126&t=0s.