By Kevin Yu
Moonlight is amazing! It is a kind of movies I absolutely love: minimized plot, limited dialogue, and uses visual styles to depict emotions. It is in any way as good as, if not better than, Carol from 2015.
Moonlight’s story, if summarized, is surprisingly simple. It is more like fragments of narrative elements than a consistent plot. Drug addict mom, friendly drug seller mentors, bullies, first love and their reunion. Divided into three parts, much of the story is left in blank, and we need to figure it out by ourselves. That’s why the scarce dialogues are necessary and also extremely captivating.
What hold the fragments together are the visual styles. Slow camera movements, rich but usually cold colors, and interesting choice of music (not a visual style though) speak for themselves. The tone of the movies is sad and lonely, and our protagonist sentimental and sensitive to getting hurt. Every minute I can feel the bleak emotions, drowned in them, choked by them, just like the physically drowned-like reaction I get from the swimming scene, where the camera is half in the water.
Chiron’s life is a journey defined by others. “What’s a faggot? Am I a faggot?” he asks, seeking a definition. The first part of the movie is titled “Little,” because other kids call him Little. Teresa says she is going to call him by his name, and the second part becomes “Chiron,” his name. Kevin in the second part gives him a nickname, “Black,” which again becomes the title for the third part. He becomes a drug seller like Juan and wears a gold necklace like Kevin used to, but in the end he is still the sentimental boy who needs to love and be loved, who shines blue in the moonlight.