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Naomie Harris as Paula
André Holland as Kevin
Tre' Rhodes as Black
720p 1080p
811.83 MB
23.976 fps
1hr 51 min
P/S 624 / 1,952
1.68 GB
23.976 fps
1hr 51 min
P/S 578 / 1,991

Movie Reviews

Reviewed by evanston_dad 9 / 10

Coming of Age in All Its Complexities

Who are we? Are we who we want to be? Or are we the sum of what other people wish we are? Even as I write these questions, I can feel how portentous and pretentious these questions sound. But, believe me, "Moonlight" manages to ask these questions and so much more in the simplest and most profound ways without ever seeming portentous or pretentious."Moonlight" is a coming of age story of a gay black man in Miami divided into three segments - childhood, adolescence, and adulthood. Each segment focuses on our central character's relationship with characters that influence his decisions and character in life."Moonlight" shines because it beautifully balances its mesmerizing technical aspects and its understated (almost muted) characters. Director Barry Jenkins' makes sure that the innovative cinematography and swelling music add to the movie's characters and not just seem like additions to the movie. James Laxton utilizes shallow focus throughout 'Moonlight" to make the film look visually unique but with a purpose - to add to the protagonist's alienation from the environment. Jenkins' decision to utilize this style of cinematography, rather than seeming flashy, adds, even more depth to the protagonist of the film as the background visuals almost seem completely lost to the viewer. Therefore, the long takes and static shots of the camera mainly focus only on the protagonist. Jenkins' repeated use of the "Moonlight" colors - blue, light purple, and dark blue - add brilliantly to the central protagonist's ambition and moods. The aspect of "Moonlight" that creates the most emotional impact, however, is Nicholas Britell's quite brilliant (and under-rated) haunting piano and violin score. The score, like Jenkins' direction and Laxton's cinematography, is understated for the most part but swells exactly at right moments to.give an operatic feel to the movie that leads to some of the movie's most powerful moments. I was completely enthralled by the movie's use of music in its scenes of transition between the different segments and in its main themes for the first and third central character.The screenplay, characters and performances in "Moonlight" are equally immersive as its music and visuals. Jenkins' screenplay is pretty much flawless. He structures the film beautifully with each segment following an established path that gives the central character in the movie a completely natural character arc. Jenkins' trust in visual storytelling and muted emotions is all the more impressive adding enormously to the character's emotions and allowing the little bits of dialogue to carry all the more weight. The three actors playing the central protagonist at different ages (Alex R. Hibbert, Ashton Sanders, Trevante Rhodes) are all terrific - emoting the loneliness of the central character brilliantly through their eyes and body language. All the supporting actors are integral here as each of them adds another layer to the movie and the central character's journey. André Holland and Mahershala Ali are especially memorable in their performances of character's that add immense humor and heart to the story.The name to remember after "Moonlight" is Barry Jenkins. "Moonlight" is only Jenkins' second film as a director-writer and he truly seems to make strides with his directorial and writing abilities. Jenkins' subtle and understated direction, and ability to integrate visual panache with layered storytelling is truly masterful. The fact that Jenkins can invoke emotion and make the audience reflect on their lives is truly an achievement. I cannot wait to see his 2008 directorial debut ("Medicine for Melancholy") and future work.I have seen "Moonlight" twice now. The first time I saw it, I thought it was an incredibly powerful story told beautifully. The second time I watched it, I was equally stunned by the subtle nuances of the film I had missed the first time. Both times I watched it, I came out of the theatre thinking about how events and people have influenced who I am now. That is the power the best of cinema possess and "Moonlight" is as perfect a film you are likely to see this year, so do not miss it!

Reviewed by Dhruv Krishna Goyal 9 / 10

Beautifully devastating

Barry Jenkins is a fascinating storyteller, and in large part because of how he goes about being fascinated by his subject, how his camera roams at times, and at others when he knows to cut between his subjects. But most of all, he is a truly magnificent filmmaker because of how he so deftly finds universal themes from a place and people that is somewhat specific. This is a story about a boy who grows into a man - I'm tempted to call it the 'better, bigger, blacker-er Boyhood', though that's not totally the case - but he is also a boy growing up in a largely black, Southern, lower (middle?) class neighborhood, where it seems drugs are everywhere (including his own mother who is an addict) and no one can be "soft". And if you're gay, a "f***ot?" Watch out.I grew up in a town and in the public school system where it was predominantly black and brown and Hispanic, and it seemed like even having the slightest effeminate tendencies would make that one a subject for immediate ridicule (I was even picked on and I was pretty sure from a young age I wasn't gay, but was picked on so much for a moment almost though I was, it was that persistent). It may not be so different for white small towns or big cities or who knows what, but it's especially difficult for African-American men to come out. And yet if Moonlight was only about the gay issue then it would be interesting but not overly compelling. I think what Jenkins and his actors are communicating so strongly is being *so* isolated and without any options that it's about one's overall identity. Sex and attraction is a large component, but simply knowing who one is is a major struggle.Jenkins has some very big, emotional scenes in this film, which is told in three parts, in large part coming from the dynamic between the boy, called "Little" but actual named Chiron, and his mother (Naomie Harries, I mean, god damn she is amazing in this). However, the predominant mood here is one of subtlety, of a vision that is fairly ambitious but is more about the interior life of his protagonist, this boy having to navigate how he should be in a society that leaves little options to get out and be something more than a drug dealer or the like (eventually, both he and another friend character, Kevin, wind up in jail in-between parts 2 and 3. This can be a difficult way to make someone interesting, but there's so much truth from these young actors, especially the boy playing Chrion in middle-school age, that your heart pours out even more because of the restraint, because of the shyness that is hiding back an entire interior life that's more than what we can see: one of pain and want.The way Jenkins shoots everything gives characters and places an extra texture, how he'll show two people by a beach at night becoming closer together naturally over minutes that feel pregnant with meaning. To use the word 'sensitively drawn and performed' may be a cliché, but sensitive is the only way I can think to describe it. This isn't to say it's melodramatic, far from it; when we get the bullies that come at Chiron, it feels raw and immediate, like something could pop and violence could erupt at any moment. Sometimes, it seems, it does. A small piece of advice is given to the boy by the drug dealing father-figure (no one else in his life fills that role, and he doesn't realize at first he is a dealer): no one can tell you who you are, you have to figure that out for yourself.When I first got out of the theater at the end, I was wondering if the ending was slightly abrupt, that things come to a conclusion somewhat not so much fast but there's something else. I think writing this review now, I was more touched and moved by the thought of 'I now want to see where this story goes, what happens now that Chrion has had this emotional breakthrough.' It's as subtle as many moments in this film, but there's a poetic side to it that is potent and you can almost touch it that it's so powerful. Moonlight is profound because it doesn't force anything, it lets those moments where things aren't said speak out loud, when characters share looks or someone looks away while another looks straight on at another person, or the movement of boys with one another, and you can fill in the gaps for yourself. It's also a look at the black experience that is both specific to that world but goes beyond that: if you've ever not known who you are in your life, if you've felt lost or abused or abandoned, this is a film for you.

Reviewed by marcosaguado 9 / 10

Three One Everything

When a film comes out and you know next to nothing about it with a director you don't know and a cast of mostly unknowns and it blows you away like it did me. Then I know I'm confronted by something unique. In fact it was director/writer Martin Donovan who wrote about Moonlight, urging all his actors to run and see it. Thank you sir. The faces of those three young men who are just one did something to my brain and to my heart. The best group of actors I've seen in one single film in a long, long time. At the center of it all is love and what it means to be a man. Thank you Barry Jenkisns A revolutionary film made of truth and beauty.

Reviewed by Lord moo_23 9 / 10

Identity Takes Time to Discover

To solely categorize this film as an examination of Chiron, a young African American who has to deal with being gay is accurate but inadequate. It wouldn't be inadequate to also categorize it as a movie about drug abuse, school bullying, and isolation. However, if someone were to ask me what MOONLIGHT is truly about I would say that, at it's core, it's a film about teaching a child how to swim, feeling the sand on your skin, and cooking a meal for an old friend. Director Berry Jenkins is not afraid to be poetic, to guide his film away from conventional storytelling and offer his audience something to connect to in their own way. The way his camera roams around is sensually magnificent; he knows when to cut to the next shot and when to linger a few seconds longer. But above all else, his ability to add an extra texture to each scene is awe-inspiring; it's more than just style for the sake of style; it's essential to the movie's argument.From the very first shot to the very last, MOONLIGHT is about as beautiful a movie as you're likely to see this year. The colours are rich and luminous; James Laxton's cinematography is visually immersive leaving you stranded inside the story of the film. It moves at a smooth, welcoming pace. The music, whether it be the classical or hip-hop selections as well as Nicholas Britell's subtle score, is perfect. And the performance are, well? they're the cherry on top. It's uncanny how similar the 3 actors, who played the kid, teenage, and adult versions of Chiron behaved and acted; you'd almost think it was the same actor who played all three roles. Mahershala Ali and Naomie Harris are more deserving of Oscar nominations than just about anyone I've seen this year. They may be the standouts, but all the performances, ranging from the children to the adults, are so raw and powerful; a standing ovation for the casting director is in order. But perhaps the thing about this movie that deserves the most acclaim is its open-endedness; it's fight against straightforward categorization and recap. MOONLIGHT so much more than a movie about growing up gay; it's about overcoming your adversities and, despite being a product of your environment, figuring out who you want to become. Identity takes time to discover, and that's something anyone can relate to.

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