Moonlight Review - Timely story from a passionate source

Many films are considered timely for addressing issues at a time of upheaval. Most will always be, as certain issues are constant. Moonlight, however, is one of those rare films which will stand the test of time more so than even the finest films tackling race, gender, sexuality or any other topic with a stigma. Not that we here at Boxed Globe have an issue with such topics (although we're not sure about Richard).

Barry Jenkins bursts into the mainstream with his second feature, drawing from his own personal experiences and a Tarell Alvin McCraney play to tell the story of 'Little' Chiron. Growing up in Miami with a drug addict mother (Naomi Harris) and coping with his suppressed sexuality, Chiron's life is separated into three sections, with each featuring a different actor to play Chiron. 

The first sees Alex Hibbert taken under the wing of drug dealing father-figure Juan (House of Cards' Mahershala Ali) whilst first being alienated by peers. Ali is an engaging presence as Juan, beguiling all around him despite his profession. An especially gripping scene where addict clashes with dealer demonstrates the range of both Ali and Harris. The latter is present throughout all three acts, convincingly portraying the traits drug dependency to an effectively discomforting degree. Unfortunately, the former's screen time is tragically limited, to the point where he's sorely missed.

Not that the performances of Harris, and the following two Chirons don't make up for it. Ashton Sanders is the teenager in his informative years of bullying and sexual confusion, while Trevante Rhodes is the adult Chiron, emulating Juan and successfully dealing drugs, but still harbouring unresolved issues. All three actors covering the frustrated life carry the same quiet rage in their expressions, delivering a powerful performance between them. Little/Chiron/Black truly has one of the most moving character arcs in film. His discovery of, suppression of and chance to accept his homosexuality is moving, and makes Moonlight so important. 

Pulling the strings is Jenkins, infusing every frame with passion. Harris is as convincing as she is because of the director's relationship with his mother. Jenkins' understanding of the subject matter and ability to direct 'the talent' - combined cinematographer James Laxton, using some stunning high-contrast shots and an appropriately blue colour pallet - creates a visually beautiful, poetic movie about identity. Go see it and let it get underneath your skin.

We'll say FIVE STARS. But this is an arbitrary ratings system so it doesn't matter. Read the words people write for God's sake, not the pointless number they assign it.