XR Podcast E2: non violence - Extinction Rebellion

XR Podcast E2: non violence - Extinction Rebellion






XR Podcast E2: non violence

April 14, 2019 by Jessica Townsend
ClarefarrellNon ViolenceNonviolenceRogerhallamSkeenarathorXR Podcast

Welcome to Episode Two on the issue of nonviolence: what it means as a political tool; how effective it is; and how Extinction Rebellion values nonviolence as a practice in itself.


WARNING – This episode contains some strong language.

This episode is presented by Dave Anderson and Jessica Townsend with interviews conducted by Marijn van de Geer and Jessica Townsend in the Extinction Rebellion offices.

The episode can be found here: https://www.podomatic.com/podcasts/xr-podcast/episodes/2019-03-26T06_16_03-07_00

Or here on iTunes: https://podcasts.apple.com/gb/podcast/xr-podcast/id1456115700


We interviewed the following people to help explain what nonviolence means:

Roger Hallam – PhD researcher on effective radical campaign design at King’s College London, organic farmer and co-founder of Extinction Rebellion.

Clare Farrell – Street artist and fashion designer, Arts Coordinator and co-founder of Extinction Rebellion.

Skeena Rathor – Labour councillor for Central Stroud and active member of political and strategic working groups for Extinction Rebellion.

Roger begins by talking us through the political effectiveness of nonviolent direct action, its precedents and the scholarship around it.

If you are interested in hearing more from Roger on this subject, this film will be of interest: https://youtu.be/jSOlRNCO9L8 He references the work of Gene Sharp in particular (Gene Sharp: ‘From Dictatorship to Democracy’, 1993) which was influential in the Arab Spring, Iranian protests and Serbia.

The work of American political scientist Erica Chenoweth is referenced a few times in this episode by both Roger and Clare. As an introduction to her work there is an interesting TED talk here: https://www.youtube.com/watch?v=YJSehRlU34w and we also recommend reading ‘Why Civil Resistance Works The Strategic Logic of Nonviolent Conflict’ by Erica Chenoweth and Maria J. Stephanher (2012). We are hoping to have a special episode in which we interview Erica Chenoweth in greater depth about her work later in the year.

Clare discusses the way the art working group of XR ensures that our actions have many explicit and subliminal nonviolent messages. She goes on to consider if the nonviolent ethos of the movement makes it attractive to faith groups.

Finally Skeena Rathor looks at the nonviolent culture of XR in its day-to-day running. During every evening of the Rebellion starting on 15 April 2019 there will be Zoom meetings with Gayano Shaw offering emotional support for rebels in addition to the support from XR’s own Regenerative Culture Team’s support.

Research – Jessica Townsend, Marijn van de Geer

Presenters – Jessica Townsend, Dave Anderson

Producer – Elly Lazarides

Sound Engineer & Mixing – Dave Stitch


share




recent articles
29.08.19The Deliberate Rebellion
29.08.19Deep adaptation: Getting Real about the Climate Apocalypse
29.08.19Extinction Rebellion meet with the BBC
27.08.19Episode 5 – Regenerative Culture, Joanna Macy
27.08.19The Deliberate Rebellion: Short film with exclusive track from Massive Attack

[김영진의 영화비평] <문라이트>가 잡아낸 분위기, 그 영화적 접근의 힘

[김영진의 영화비평] <문라이트>가 잡아낸 분위기, 그 영화적 접근의 힘
글 김영진(영화평론가) 2017-03-09


※ 영화의 스포일러가 있습니다.




배리 젠킨스의 <문라이트>는 주인공 샤이론이 소년에서 어른이 되는 모습을 세 단락으로 나눠 담고 있지만 별다른 사건이 없다. 1, 2부에서 샤이론은 동성애자라고 주변의 핍박을 받는다. 왕따당하는 것에 그치지 않고 집단 린치를 당한다. 3부에서 샤이론은 전혀 다른 사람이 되어 있다. 몸이 두배로 늘어난 건장한 체격을 지닌 성인 남자이자 거리에서 마약을 파는 소두목이 되어 있다. 샤이론의 주변 삶의 관계도 단출하다. 세 단락에 계속 나오는 인물은 마약 중독자인 샤이론의 엄마와 어릴 적부터 샤이론의 친구인 케빈뿐이다. 첫 번째 단락에서 샤이론을 보살펴주는 쿠바 출신 남자 후안이 나오지만 마약상인 그는 2부에서 죽고 없다. 후안의 여자친구인 테레사는 1부에 이어 2부에도 나오지만 거의 엄마처럼 샤이론을 보살펴주는 천사 같은 캐릭터인데도 그것 말고 별다른 역할이 없다.
잉여적 시선이 만든 자체적 리듬

이것은 요약한 스토리가 아니라 이 영화 내용의 거의 전부이다. 이 스토리로부터 가지를 쳐나가는 사건의 전개가 별로 없다. 그런데도 이 영화의 상영시간은 110분이며 별로 길다는 느낌을 주지 않는다. 자잘한 사건과 사건의 연결 사이에 영화의 주된 시간을 채우는 것은 아무런 일도 일어나지 않는 일상을 따라다니는 카메라다. 영화의 첫 장면에서 후안은 자기가 관리하는 지역에 차를 운전하고 와서 내린다. 후안의 동선을 카메라가 좇아가면 후안 밑에서 일하는 젊은이가 약을 팔 것을 애원하는 한 중독자를 뿌리치는 상황을 두 차례 360도 회전하며 보여주고 그다음엔 후안이 젊은이에게 잘하고 있다고 격려하는 모습을 또다시 360도로 회전하며 보여준다. 숏으로 나누지 않아 과시적으로 보일 수도 있는 이 장면 테이크는 한산한 거리의 병든 모습을, 나른한 외형적 공기를, 적절한 격동을 실어 담는다. 장면 자체는 그다지 길지 않지만 숏을 나눠 찍은 것보다는 당연히 긴 호흡이다.

이 영화는 이런 식의 잉여로 자체적 리듬을 만들어냈다는 점에서 음미해볼 만한 성취를 거두었다. 카메라 자체가 개입하고 있다는 느낌의 숏을 곧잘 연출하는데도 그게 과잉으로 다가오지 않고 독자적인 스타일로 보인다. 1부에서 소년 샤이론이 다른 아이들과 잔디밭에서 축구를 하기 직전에 카메라는 작전 지시라도 듣고 있는 양 포즈를 취하고 있는 아이들을 패닝으로 죽 훑는다. 아이들은 카메라를 정면으로 바라본다. 이게 어떤 의미가 있느냐 하면 그것도 아니다. 아이들은 그냥 그 자리에 서서 카메라를 본 것뿐이다. 1부의 또 다른 장면에서 아이들이 화장실에 모여 서로의 성기 크기를 확인하고 있을 때 멋도 모르고 들어온 샤이론은 그 자리에 끼게 되는데 이때도 카메라는 아이들의 모습을 축구 장면에서처럼 패닝으로 훑는다. 샤이론이 다른 아이들과 친구가 된 것일까, 라고 잠시 추측하지만 그런 건 아니다. 감독은 카메라 움직임을 통해 시간을 느끼게 하는데 효과는 정지 화면처럼 느껴지지만 동시에 물 흐르듯 시간도 흐른다.

이것이 과시적 허영으로 추락하지 않는 것은 아이들의 맑은 눈망울, 그냥 맥락 없이 보면 천진한 소년들의 모습처럼 보일 화면이 앞뒤로 배치된 화면들 속에서 샤이론의 소외를 묘사하고 있어 일종의 대비 효과를 거두고 있기 때문이다. 샤이론이 처음 화면에 소개될 때 샤이론은 자신을 호모라고 놀리며 쫓아오는 아이들을 피해 전속력으로 달린다. 집에서도 샤이론은 환영받지 못한다. 1부 끝에서 약에 취한 샤이론의 엄마가 샤이론에게 쳐다보지 말라고 표독스럽게 말하는 장면이 나온다. 약에 취한 자신의 모습을 보여주고 싶지 않아서, 또한 자기 삶의 짐이 되는 샤이론이 거추장스러워서 한 말이지만 샤이론에게는 이게 트라우마다. 3부에서 어른이 된 샤이론은 꿈에서 어린 시절의 이 장면을 보며 악몽에서 깨어난다. 사건의 전개와는 별개로 이렇듯 카메라를 응시하는 장면들은 첫 장면의 한산한 거리 풍경처럼 그 자체로는 아무것도 지시하지 않는 표면들의 공허를 지적한다. 그것들은 아무것도 지시하지 않기 때문에 또한 이 영화에서 담고 있는 타자에 대한 무의식적 폭력의 잔혹함에 대해 많은 것을 함축하기도 한다. 사건을 복잡하게 전개시키는 대신 감독은 이런 장치들을 과하지 않게 반복하고 그로부터 어떤 간단하지 않은 인상을 만들어낸다.

반복을 포함해 감독은 때로 평범한 장면에서 꽤 미묘한 뉘앙스를 끌어내는데 그렇다고 그걸 나중에 명쾌하게 설명하는 것도 아니다. 이를테면 이런 장면이다. 2부에서 청소년이 된 샤이론은 약을 사기 위해 매춘을 하는 엄마로부터 그날 집에 들어오지 말라는 말을 듣고 방황하다가 후안의 여자친구 테레사의 집에 간다. 테레사는 샤이론을 반갑게 맞이하며 ‘여긴 사랑과 자부심밖에 없는 곳’이라고 말한다. 샤이론이 잠자리에 들려 하자 테레사는 방으로 들어와 침구 정리하는 걸 능숙하게 도와준다. 테레사는 후안이 처음 샤이론을 데려왔을 때부터 별명이 아닌 이름으로 불러주고 자식처럼 샤이론을 대해주던 여자였다. 이 장면에서 샤이론은 엄마 폴라에게서는 느껴보지 못했던 감정을 테레사에게 느끼는 것처럼 보인다. 자식의 잠자리를 챙겨주는 엄마의 모습 같은 것, 동시에 이미 육체적으로는 성인이 다 된 샤이론에게 사랑과 자부심을 강조하는 테레사가 잠자리를 챙겨주는 건 다 늦은 오이디푸스 콤플렉스를 자극하는 것처럼 보이기도 한다.

이 장면은 놀라운 후속 장면으로 이어진다. 누워서 자고 있는 샤이론의 몸을 카메라가 관능적으로 훑으며 부감으로 지나치는 장면 다음엔, 그 이동의 에너지를 이어서 샤이론이 테레사의 집 내부를 돌아다니는 장면이 나오는데 샤이론이 바깥으로 나오면 샤이론의 친구 케빈이 여자친구와 성교를 하는 뒷모습이 보인다. 꿈에서 깨어난 샤이론이 황망한 표정을 짓고 있는 것으로 이 장면은 끝나는데 잠재적인 성적 에너지를 꿈속에서 폭발시키는 것은 근친상간의 긴장을 친구의 성교로 끌어내는 방식을 통해서다. 이게 놀라운 것은 친구 케빈이 나중에서야 양성애자라는 게 밝혀지고 샤이론이 겉으로는 전혀 내색을 하지 않았지만 케빈을 연모하고 있었음을 추측할 수 있기 때문이다. 3부에서 동일한 장치로, 성인이 된 샤이론의 몸을 카메라가 부감으로 훑을 때 샤이론의 몸은 어렸을 적의 샤이론의 몸이 아니라 유사 아버지였던 후안과 비슷한 체격을 갖추고 있다. 이 장면 다음에 샤이론이 전화를 받으면 오랫동안 연락이 끊겼던 케빈의 목소리가 휴대폰 너머로 들린다. 2부에서의 카메라 움직임의 반복이다. 2부에서 잠재적 욕망이 해변에서의 짧은 사정으로 종결되는 남자들끼리의 동성애로 연결되었다면 3부에서는 또 다른 귀결이 기다리고 있을 것이다(케빈의 전화를 받은 다음날 샤이론은 몽정을 한다).
뒷모습이 보여주는 것

<문라이트>의 성취를 잘 보여주는 것은 이렇듯 별다른 극적 문맥이 없는 장면들에서 세밀하고 미묘한 뉘앙스를 끄집어내어 그걸 적당한 리듬으로 반복하면서 시간을 능란하게 연장시키는 장면들에 있다. 2부에서 첫 경험을 치른 샤이론이 집으로 돌아왔을 때 약기운이 떨어진 샤이론의 엄마 폴라가 샤이론을 반갑게 맞이하는데, 늦게라도 들어오지 그랬느냐고 샤이론을 채근하면서 폴라가 샤이론을 집으로 데려갈 때, 카메라는 그들의 모습을 뒤에서 핸드헬드로 좇는다. 화면에는 야외의 소음이 크게 들린다. 인물의 걷는 모습을 앞이나 옆이 아닌 뒤에서 잡아내는 것은 이 영화에서 자주 되풀이되는 패턴이다. 일단, 인물이 걷는 걸 보여주는 건 외형적 에너지가 있다. 그걸 뒤에서 보여준다면 인물의 표정 대신에 인물의 동작으로 모든 걸 전하겠다는 뜻이다. 인물의 걷는 뒷모습은 표정에 인물의 감정을 가두지 않는다. 이 영화에선 이 장치가 매우 효과적으로 쓰인다. 학교에서 집단 린치를 당한 다음날 샤이론이 학교에 등교하는 장면에서 카메라는 중대한 결심을 드러내는 듯 보이는 그의 걸음걸이가 화면에 자연스레 강조되게 따라잡는다. 관객은 샤이론이 무슨 행동을 할지 모르지만 그의 걸음걸이로 미루어 뭔가 심상치 않은 일이 벌어질 것을 예감한다. 이 장면의 끝에서 샤이론은 자신을 린치하도록 지휘한 같은 반 급우를 책상으로 내려치는데 그의 걷는 모습을 좇은 선행 숏들의 긴장감으로 인해 이 숏은 상당한 폭발력을 갖는다.

이 영화는 특이하게도 대화 장면을 담을 때조차 뒷모습을 택한다. 샤이론이 친구 케빈과 동성애 첫 경험을 하는 2부의 해변가 장면에서 카메라는 부감 앵글을 취하다가 샤이론의 등 뒤로 케빈의 말하는 얼굴을 보여준다. 두 소년은 다소 문학적이면서 감상적인 대화를 나누는데 평소의 거친 언행과는 별개로 소년들의 감성을 수줍게 드러내면서 마음과 마음이 통하는 순간을 바람에 빗대 얘기하는 이 장면은 아름답다. 제목이 함축하는 질감을 화면으로 구현하면서 사회로부터 억압받고 주변으로부터 거부받을까봐 두려워하는 욕망이 감상적인 대화의 실타래를 통해 스르륵 느닷없이 터져나오는 순간을 묘사하면서 감독은 전형적인 숏/역숏의 패턴 대신 대각선으로 축을 가르고 두 소년을 보여주는 방식을 썼다. 이것은 청소년기의 거친 언행에 숨겨진 마음을 살그머니 들춰보기 위해 다가가는 듯 신중하게 느껴지는 접근이다. 상스런 말로 시작된 두 소년의 대화가 ‘바람 느낌 너무 좋다…. 모든 사람이 그걸 느끼고 싶어 해. 모든 게 그냥 고요해지지. 들리는 건 그냥 심장박동뿐이겠지…. 너 울고 있어?’로 이어지는 가운데 화면은 같은 사이즈와 앵글로 붙이지 않은 그들의 마음이 순식간에 조응하는 순간을 잡아낸다.

이 영화에서의 인물들의 뒷모습을 잡은 장면들은 사회로부터 타자화된 이들의 마음을 쉽게 드러내 강조하지 않으려는 일종의 예의와 같은 것으로 본다. 후반부에 이르러서는 관객도 이 영화가 뒷모습을 잡는 패턴에 익숙해 있고 이런 장면들에 이어 결정적인 순간에 이르러서는 우리가 보고 싶은 인물의 표정을 보여줄 것이란 안도감이 든다. 특히 3부의 식당 장면에서는 감독의 신중하지만 정확한 화면 크기를 결정하는 감각이 돋보인다. 케빈이 운영하는 허름한 식당에 샤이론이 들어와서 앉아 있다가 자신을 알아본 케빈과 오랜만에 재회하는 순간, 감독은 이 두 사람의 얼굴을 익스트림 클로즈업으로 번갈아 보여준다. 케빈이 샤이론을 위해 특별식을 만들고 다른 손님들을 응대하면서 두 사람의 대화의 시작이 지연되는 상황들 속에서, 케빈이 사랑하는 사람을 위해 요리를 하고 샤이론이 그걸 기다리는 일상적이지만 극적인 설정 속에서, 샤이론의 얼굴 클로즈업은 별다른 표정 변화가 없는 데도 시시각각 많은 변화를 담는다. 샤이론의 유사 아버지였던 후안과 마찬가지로 케빈도 쿠바인이었다는 게 상기되는 말이 오간 후(이제 후안 대신 샤이론은 케빈을 인생의 파트너로 맞이할 것인가), 케빈은 사만사라는 여인과 결혼해 아이가 있다는 말을 하고 샤이론은 후안처럼 거리에서 마약을 파는 범죄자 두목이 되어 있다는 정보를 교환한다. 두 사람은 각자 처지에 따른 이유로 상대방에게 실망한다. 케빈이 잠시 주방으로 간 사이에 화면은 식당의 출입문을 보여주고 카메라는 그 문을 향해 다가간다. 이어지는 샤이론의 클로즈업은 그가 말하지 않아도 무엇을 생각하는지 알려준다. 샤이론은 케빈을 찾아온 걸 후회하고 있다.

샤이론이 전화한 이유가 뭐냐고 묻자 케빈은 일어나서 주크박스로 간다. 샤이론의 클로즈업에서 카메라가 패닝하면 주크박스가 보이고 더 이동하면 케빈이 노래를 튼다. 컷하지 않고 움직임으로 처리한 영화의 리듬 패턴이 이 장면에서 극적으로 상승한다. 지속적으로 반복되어온 이 영화만의 절묘한 잉여다. 주크박스에서 흘러나오는 노래는 케빈의 연가와도 같다. (안녕하세요, 낯선 분. 당신이 돌아오니 너무 좋네요….) 그전까지 관객인 우리는 케빈이 무엇을 생각하는지 잘 알 수 없었다. 케빈이 샤이론에게 전화했던 앞선 장면에서 관객은 케빈이 전화를 끊은 후 식당 바깥에서 담배를 피우며 깊은 상념에 빠진 모습을 본다. 케빈은 심지어 카메라를 정면으로 쳐다본다. 마치 당신은 내가 누군지 아느냐고 묻는 듯이 말이다. 케빈은 영화에서 게이의 성징을 드러낸 적이 없다. 해변에서 느닷없이 나눈 샤이론과의 사랑이 충동이었는지 그의 본성이었는지 알 수 없다. 자칫 위험할 수도 있었던 케빈의 정체에 대한 이런 괄호 치기 전략은 카메라를 정면으로 쳐다보는 앞의 숏으로 인해 증폭되지만 활시위를 크게 당겼다가 놓은 것처럼 대단원의 섬세한 클로즈업 배치를 통해 미적거렸던 의문들은 상쇄된다.

<문라이트>는 영화가 사건을 묘사하는 것뿐만 아니라 분위기를 잡아내는 것, 때로는 표정을 잡는 것이 아니라 동작을 보여주는 것을 통해 더 많은 걸 표현할 수 있다는 영화적 접근의 힘을 새삼스럽게 느끼게 해준다. 20세기의 모던 시네마에서 과하게 추구되었으나 이제는 속도전의 흐름 속에서 잊혀지고 있던 호흡을 능숙하게 구사했다.
관련영화
문라이트Moonlight(2016)

왜 당신은 영화 '문라이트'를 보러 가지 않는가?

뉴스
2017년 02월 23일 11시 46분 KST

왜 당신은 영화 '문라이트'를 보러 가지 않는가?


Maxwell StrachanThe Huffington Post


A24




‘문라이트’를 온라인에서 검색해 보면 놀랄 것이다.

영화 리뷰를 모으는 사이트인 로튼 토마토스에서 ‘문라이트’는 2016년에 가장 호평 받은 세 영화 중 하나로, 98%로 평가되었다. 내셔널 리뷰 등에서 일부 부정적 리뷰를 냈지만, ‘문라이트’에 대한 평단의 엄청난 찬사는 정말이지 압도적이다.

팔리델피아 인콰이어러는 ‘문라이트’를 ‘진정한 미국의 명작이며 최근 10년 간 최고의 영화 중 하나’라고 했다. 마이애미 헤럴드는 ‘마이애미 최초의 진짜 명작’이라고 지칭했다. 워싱턴 포스트는 ‘완벽한 영화’라 했다. 월 스트리트 저널은 ‘걸작 – 남용되는 말이지만 틀린 말은 아니다’고 했다. 토론토 스타는 ‘위대한 영화가 우리의 삶에 영향을 줄 수 있는 힘을 보여주는 완전히 신선한 사례’라고 했다. 토론토 선은 ‘너무나 훌륭해서 영화에 대한 믿음을 되살려 줄 수 있다’고 했다.

뉴욕 타임스의 A. O. 스콧은 “이게 올해 최고의 영화인가?”라고 물었다. 그럴지도 모른다. ‘문라이트’는 이미 1월에 골든 글로브 드라마 부분 최우수작품상을 받았고, 89회 아카데미 시상식에서는 8개 부문에 후보로 올랐다. 작품상, 감독상, 각색상, 촬영상, 음악상, 남우조연상, 여우 조연상, 편집이다. ‘컨택트’와 같은 수이며, 이보다 많은 분야에 후보로 오른 작품은 아카데미 상 맞춤이나 다름없는 LA 배경의 뮤지컬 ‘라라랜드’ 뿐이다.

평론가와 헐리우드는 ‘문라이트’를 사랑한다. 그런데 사람들은 왜 안 볼까?

‘문라이트’는 11월에 개봉한 뒤 2천만 달러밖에 벌어들이지 못했다. 제작 비용이 5백만 달러 밑이었다는 걸 감안하면 독립 영화의 성공 사례로 볼 수 있다. 하지만 ‘문라이트’는 로튼 토마토스에서 2016년에 가장 높은 평을 받은 영화 7위 안에 든다. ‘주토피아’, ‘라라랜드’, ‘컨택트’, ‘정글 북’이 ‘문라이트’보다 몇 배나 더 높은 수익을 올린 건 나름대로 이해가 간다. 그러나 케이시 애플렉의 ‘맨체스터 바이 더 시’는 이제까지 4500만 달러를 벌었다. ‘문라이트’의 두 배가 넘는다. 서부 범죄 스릴러인 ‘로스트 인 더스트’는 2700만 달러를 벌었다.

‘문라이트’는 작년에 개봉한 영화 중 박스 오피스 순위 106위다. 심지어 ‘주랜더 2’보다도 본 사람이 더 적었다.

여러 해 동안 이토록 호평을 받은 영화가 많지 않았는데도 사람들의 관심이 이렇게 적었던 것에는 단순한 이유가 있다. 이 영화에는 스타가 나오지 않는다. 리뷰의 독자들에게 극장에서 꼭 봐야겠다는 생각이 들게 하는 영화도 아니다. 그리고 보기 전부터도 보기 힘들 것이라는 걸 알 수 있다.


충분히 배포되지 않았던 탓도 있다. ‘문라이트’가 가장 많이 개봉했을 때는 극장 1,100곳에 걸렸지만, 11월 말 개봉 후 거의 4~600곳 정도에서 상영되었다. ‘맨체스터 바이 더 시’보다 훨씬 적은 숫자다. ‘문라이트’를 보고 싶었지만 못 본 사람들이 있다.

그렇지만 비슷한 조건인데도 박스 오피스 성적은 더 좋은 영화들이 있었다. 예를 들어 ‘문라이트’보다 1년 먼저 나온 칙칙하고 평은 좋았던 ‘브루클린’은 개봉 기간은 짧았는데도 미국 내에서만 3800만 달러를 벌었다. 제작비는 1100만 달러였다.

---------

‘문라이트’가 마이애미 극빈 지역에서 태어난 샤이론이라는 흑인 게이 소년의 이야기라는 걸 언급해야 할 것 같다.

샤이론의 세상엔 희망이 없다. 작고 수줍음이 많은 샤이론에겐 구조적 지원이란 게 없다시피 하다. 그의 어머니는 크랙 코캐인 중독자이다. 아버지는 없다. 학교에서는 그에게 아주 조금이라도 관심을 갖는 아이는 단 하나뿐이다. 집에 오는 길에는 괴롭힘 받거나 무시 당한다. 작고 지저분한 아파트에서 몸을 씻으려면 부엌 싱크대에서 물을 받아다 욕조를 채워야 한다.

마약 중독으로 괴로워하는 그의 어머니는 그를 사랑할 수 있는 능력을 잃었다. 샤이론을 아끼는 것 같은 유일한 두 사람은 마약 딜러와 그의 여자 친구이다. 샤이론이 갈 곳이 없어지자 그들은 자신들의 집에서 지내게 해준다. 여전히 스스로를 부끄러워하는 그는 기차에서 자거나 혼자 해변에 갈 때도 있다.

샤이론의 세계가 존재한다는 걸 백인 미국인들이 알고는 있지만, 의식적으로든 무의식적으로든 잘 생각하지 않으려 하는 세계다. 세상에서 가장 부유한 나라에 샤이론 같은 아이가 지금도 존재한다는 걸 인정하기란 불편하다. 특히 부유한 백인은 더욱 그렇다. 흑인 게이 소년이 다른 사람들보다 훨씬 더 뒤처진 출발선에서 삶을 시작할 수 있다는 사실을 인정하기란 그보다도 더 불편하다. 슬프고 힘들다. 라이언 고슬링과 엠마 스톤이 로스 앤젤레스의 언덕에서 즐겁게 뛰노는 걸 보는 게 훨씬 편하다.

고슬링과 스톤이 연기한 세바스챤과 미아처럼 샤이론도 가상의 캐릭터다. 하지만 샤이론의 상황은 가상이 아니다. 현재 미국 어린이 5명 중 1명은 빈곤 속에서 살고 있다. 흑인 어린이의 경우 거의 5명 중 2명 꼴이다. 수치스러운 숫자다. 하지만 더욱 수치스러운 것은 그들을 무시하려는 우리의 태도다.

부모가 두 명 다 있는 중산층 가정에 태어난 운 좋은 사람들은 배가 고픈 게 어떤지, 두려운 게 어떤지 진정 이해하지 못할 것이다. 의지할 사람, 함께 웃을 사람이 어떤 것인지 모를 것이다. 미국의 문제가 샤이론처럼 어느 한 소년, 소녀의 얼굴을 가질 수 있다는 걸 깨닫기란 늘 불편하다. 동성애혐오, 인종차별, 괴롭힘, 빈곤, 마약 중독, 예산이 부족한 공립 학교의 피해자로 태어난 아이들이 미국엔 존재한다.

이 아이들, 특히 유색인종 게이 어린이들은 잊혀지기 쉽다. 미국 사회와 문화의 변방에 살기 때문이다. 그리고 ‘문라이트’처럼 그들에게 목소리를 부여하려는 영화는 지금도 드물고, 백인 미국인들은 자신이 공감할 수 있을까 확신할 수 없다고 생각할 정도로 낯설게 느낀다.

그러나 시도해 볼 가치는 있다.'



뉴스는 당신이 모르는 세계에 대해 생각하게 만들 수 있지만, ‘문라이트’ 같은 영화는 직접 느끼게 해준다. 로저 에버트는 “영화는 모든 예술 중 가장 강력한 공감 기계다. 위대한 영화를 보러 가면 나는 다른 사람의 삶을 잠시 살 수 있다. 다른 사람의 입장이 될 수 있다. 다른 젠더, 인종, 경제적 계급이 되는 게 어떤 느낌인지, 다른 시대에 사는 게, 다른 믿음을 갖는 게 어떤 느낌인지 알 수 있다.”

‘문라이트’는 굉장히 강력한 공감 기계다. 샤이론의 공포, 침묵, 피로, 도움에 대한 조용한 필요는 뉴스를 봐서는 알 수 없는 것들을 가르쳐 준다. ‘문라이트’는 보편적인 영화가 아니라는 점에서 중요하다. 당신을 다른 세계로 데려다 주는 영화다. 그리고 돌아온 당신은 달라져 있다. 짧은 순간이나마 당신이 아닌 다른 사람의 눈으로 세상을 보게 만드는 강렬한 공감 기계다.

샤이론을 통해 배리 젠킨스 감독과 그가 만든 놀라운 공감 기계는 정치적 개념을 손에 잡히는 것으로 끌어내려 준다. 미국의 기회의 사다리에 대한 논의는 샤이론과 같은 사람이 미국에서 번영은 고사하고 생존을 하기 위해 넘어야 하는 막대한 장애물들에 비하면 시시해 보인다. 샤이론은 힘든 세계에 살고 있다. 동성애 혐오, 인종차별, 마약과의 전쟁, 손상된 교육 제도를 극복하는데 필요한 사회적 지원이 없는 세계다. 그렇지만, 아무리 작고 드물다 할지라도 세상에는 그를 기다리고 있는 친절함도 있다.

영화에서 라라랜드와 같은 탈출구를 찾고 싶어하는 욕구는 이해할 만하다. 잠시 우리 자신을 잊게 만들어 주는 환상적인 순간을 찾고 싶어한다. 하지만 세상에는 우리 자신의 문제보다 더 큰 문제도 있다는 걸 잊지 말자. 우리는 내일의 침묵 속에서 태어날 아이들을 위해 그 문제들을 함께 해결하려 노력해야 한다.

당신은 왜 ‘문라이트’를 보지 않았는가? 어떤 어린이들은 평생 겪는 일을, 2시간 동안 경험하고 싶지 않아서였는가?

아니면 아예 관심조차 없었는가?


허핑턴포스트US의 What Stopped You From Seeing ‘Moonlight’?를 번역, 편집한 것입니다.

Moonlight (2016 film)

From Wikipedia, the free encyclopedia

Jump to navigationJump to search

Moonlight
Theatrical release poster
Directed by	Barry Jenkins
Produced by	Adele Romanski Dede Gardner Jeremy Kleiner
Screenplay by	Barry Jenkins
Story by	Tarell Alvin McCraney
Based on	In Moonlight Black Boys Look Blue by Tarell Alvin McCraney[1]
Starring	Trevante Rhodes André Holland Janelle Monáe Ashton Sanders Jharrel Jerome Naomie Harris Mahershala Ali
Music by	Nicholas Britell
Cinematography	James Laxton
Edited by	Nat Sanders Joi McMillon
Production company	A24 Plan B Entertainment Pastel Productions
Distributed by	A24
Release date	September 2, 2016(Telluride) October 21, 2016(United States)
Running time	111 minutes[2]
Country	United States
Language	English
Budget	$1.5–4 million[3][4][5][6]
Box office	$65.2 million[7]

Moonlight is a 2016 American coming-of-age drama filmwritten and directed by Barry Jenkins, based on Tarell Alvin McCraney's unpublished semi-autobiographical play In Moonlight Black Boys Look Blue. It stars Trevante Rhodes, André Holland, Janelle Monáe, Ashton Sanders, Jharrel Jerome, Naomie Harris, and Mahershala Ali.

The film presents three stages in the life of the main character; his youth, adolescence, and early adult life. It explores the difficulties he faces with his sexuality and identity, including the physical and emotional abuse he endures growing up.^[8] Filmed in Miami, Florida, beginning in 2015, Moonlight premiered at the Telluride Film Festival on September 2, 2016. Distributed by A24, the film was released in the United States on October 21, 2016, and grossed over $65 million worldwide.

At the 74th Golden Globe Awards Moonlight won Best Motion Picture – Drama and was nominated in five other categories. The film subsequently won the Academy Award for Best Picture at the 89th annual Academy Awards, along with Best Supporting Actor for Ali and Best Adapted Screenplay for Jenkins and McCraney, from a total of eight nominations. In 2017, The New York Times considered it the "twentieth-best film of the 21st century so far".^[9]

Moonlight became the first film with an all-black cast, the first LGBTQ-related film, and the second-lowest-grossing film domestically (behind The Hurt Locker) to win the Oscar for Best Picture.^[10][11][12] The film's editor, Joi McMillon, became the first black woman to be nominated for an editing Oscar (alongside co-editor Nat Sanders), and Ali became the first Muslim to win an acting Oscar.^[13][14]

Contents

• 1Plot
  • 1.1i. Little
  • 1.2ii. Chiron
  • 1.3iii. Black
• 2Cast
• 3Crew
• 4Production
  • 4.1Development
  • 4.2Casting
  • 4.3Filming
  • 4.4Editing
• 5Music
  • 5.1Track listing
• 6Themes
  • 6.1Black masculinity
  • 6.2Intersection of blackness, masculinity, and vulnerability
  • 6.3Water
• 7Release
  • 7.1Marketing
• 8Reception
  • 8.1Box office
  • 8.2Critical response
  • 8.3Top ten lists
  • 8.4Accolades
  • 8.5Cultural impact
• 9See also
• 10References
• 11External links

Plot[edit]

i. Little[edit]

In Liberty City, Miami, Cuban drug dealer Juan finds Chiron, a withdrawn child who goes by the nickname "Little," hiding from a group of bullies in a crackhouse. Juan lets Chiron spend the night with him and his girlfriend Teresa before returning Chiron to his mother Paula, who subsequently grounds him from watching TV for worrying her. Chiron continues to spend time with Juan, who teaches him how to swim and advises him to make his own path in life.

One night, Juan encounters Paula smoking crack with one of his customers. Juan berates her for her addiction and neglect of her son but she rebukes him for selling crack to her in the first place; all the while they argue over Chiron's upbringing. She implies that she knows why Chiron gets beaten up by his peers, alluding to "the way he walks," before going home and taking out frustrations on Chiron. The next day, Chiron admits to Juan and Teresa that he hates his mother and asks what a "faggot" means. Juan describes it as "a word used to make gaypeople feel bad." He tells Chiron it is okay to be gay and that he should not allow others to mock him. After asking Juan whether he sold drugs to Paula, Chiron leaves as Juan appears distraught and remorseful for his actions.

ii. Chiron[edit]

Now a teenager, Chiron juggles avoiding school bully Terrel and spending time with Teresa, who has lived alone since Juan's death. Paula lets her crack addiction with prostitution get the better of her and coerces Chiron into giving her money Teresa loans him. One night, Chiron has a dream in which his friend Kevin has sex with a girl in Teresa's backyard. On another night, Kevin visits Chiron at the beach near his house. While smoking a blunt, the two discuss their ambitions and the nickname Kevin gave Chiron when they were children. They kiss, and Kevin masturbatesChiron.

The next morning, Terrel manipulates Kevin into participating in a hazingritual. Kevin reluctantly punches Chiron until he is unable to stand before watching as Terrel and his goons beat him up. When a social worker urges him to reveal his attackers' identities, Chiron, not wanting to turn Kevin in, refuses, stating that reporting them will not solve anything. The next day, an enraged Chiron walks into class and smashes a chair over Terrel's head. The police arrive, arrest Chiron for assault, and send him to juvenile hall.

iii. Black[edit]

Now going by the nickname "Black," an adult Chiron is released from prison and deals drugs in Atlanta. He receives frequent calls from Paula, who asks him to visit her at the drug treatment center where she now lives. One day, he receives a call from Kevin, who invites him to visit him should he decide to come to Miami. The next day, he wakes up and realizes he has had a wet dream. While visiting Paula, he stands up to her, calling her out for her negligence. She proceeds to apologize for not loving him when he needed it most and tells him she loves him even if he does not love her back. Eventually, the two of them reconcile before Paula lets her son go.

Chiron travels to Miami and reunites with Kevin, who now works at a diner. When his attempts to probe Chiron about his life result in silence, Kevin tells him he's had a child with an ex-girlfriend and, although the relationship ended, he is fulfilled by his role as a father. Chiron reciprocates by talking about his unexpected drug dealing, proceeds to ask Kevin why he called, to which Kevin plays a song on the jukebox that made him think of Chiron. After Kevin serves Chiron dinner, the two of them go to his apartment. Kevin tells Chiron that he is happy despite the fact that his life didn't turn out as he had hoped, resulting in Chiron breaking down and admitting that he has not been intimate with anybody since their encounter years ago and since his arrest. Kevin comforts him and they embrace. In a flashback, Little stands on a beach in the moonlight.

Cast[edit]

Trevante Rhodes

André Holland

Naomie Harris

Janelle Monáe

Mahershala Ali

• Chiron Harris (/ʃaɪˈroʊn/ shy-ROHN), the film's protagonist
  • Trevante Rhodes as Adult Chiron / "Black" (nickname given by Kevin when he was a teen)
  • Ashton Sanders as Teen "Chiron"
  • Alex Hibbert as Child Chiron / "Little"
• Kevin Jones, Chiron's closest friend
  • André Holland as Adult Kevin
  • Jharrel Jerome as Teen Kevin
  • Jaden Piner as Child Kevin
• Naomie Harris as Paula, Chiron's mother
• Janelle Monáe as Teresa, Juan's girlfriend
• Mahershala Ali as Juan, a drug dealer who becomes a father figure to Chiron
• Patrick Decile as Terrel, a school bully

Crew[edit]

• Barry Jenkins – director, screenwriter
• Tarell Alvin McCraney – story writer, executive producer
• Adele Romanski – producer
• Dede Gardner – producer
• Jeremy Kleiner – producer
• Brad Pitt – executive producer
• Hannah Beachler – production designer
• Caroline Eselin – costume designer
• Nicholas Britell – composer
• James Laxton – director of photography
• Nat Sanders – editor
• Joi McMillon – editor

Production[edit]

Development[edit]

Tarell Alvin McCraney at the 2016 Toronto International Film Festival

In 2003, Tarell Alvin McCraney wrote the semi-autobiographical play In Moonlight Black Boys Look Blue to cope with his mother's death from AIDS. The theater piece was shelved for about a decade before it served as the basis for Moonlight.^[15]

After the release of his debut feature film Medicine for Melancholy in 2008, Barry Jenkins wrote various screenplays, none of which entered production.^[16] In January 2013, producer Adele Romanski urged Jenkins to make a second film.^[17] The two brainstormed a few times a month through video-chat, with the goal of producing a low-budget "cinematic and personal" film.^[16] Jenkins was introduced to McCraney's play through the Borscht arts collective in Miami.^[18] After discussions with McCraney, Jenkins wrote the first draft of the film in a month-long visit to Brussels.^[16][18]

Although the original play contained three parts, they ran simultaneously so that the audience would experience a day in the life of Little, Chiron and Black concurrently.^[19] In fact, it is not made clear that the characters are the same person until halfway through the play.^[20]Jenkins instead chose to split the three parts of the original piece into distinct chapters and to focus on Chiron's story from the perspective of an ally.^[18][21]

The result was a screenplay that reflected the similar upbringings of Jenkins and McCraney. The character Juan was based on the father of McCraney's brother, who was also a childhood "defender" of McCraney, as Juan was for Chiron.^[22] Likewise, Paula was a depiction of Jenkins' and McCraney's mothers, who both struggled with drug addictions. McCraney and Jenkins also both grew up in Miami's Liberty Square, a primary location of the film.^[17]

Jenkins looked for financing for the film during 2013, finding success after sharing the script with the executives of Plan B Entertainment at the year's Telluride Film Festival. Dede Gardner and Jeremy Kleiner of Plan B Entertainment became producers of the film,^[16] while A24undertook to finance it and handle worldwide distribution, which marked the company's first production.^[23]

Casting[edit]

Screenwriter and director, Barry Jenkins

Different actors portrayed Chiron and Kevin in each chapter of the film. Ashton Sanders was cast in the role of teen Chiron.^[24] Alex Hibbert and Jaden Piner were cast for the roles of child Chiron and child Kevin, respectively, in an open casting call in Miami.^[25][26] Trevante Rhodes originally auditioned for the role of Kevin, before he was cast as adult Chiron.^[27]

André Holland had previously acted in McCraney's plays, and had read In Moonlight Black Boys Look Blue a decade before the release of the film.^[28] Holland was attracted to the role of adult Kevin when later reading the script of the film, stating, "[The script] was the best thing I've ever read".^[29]

Naomie Harris was initially reluctant to portray Paula, stating that she did not want to play a stereotypical depiction of a black woman.^[30]When addressing her concerns, Jenkins emphasized the character's representation of both his and McCraney's mothers.^[28] Harris later commented that although she had previously vowed not to portray a crack addict, the film's script and director's tolerance appealed to her.^[17]In preparation for her role, Harris watched interviews of those with addiction to crack cocaine, and met with addicted women. She related her experiences of bullying to the addicts' attempts of escaping trauma.^[30][31]

Romanski proposed Juan be played by Mahershala Ali, who had a role in one of her previously produced films, Kicks. Jenkins was hesitant when casting Ali due to his role as Remy Danton in House of Cards; however, he was convinced after witnessing Ali's acting range and understanding of his character.^[32] Ali considered the role an important opportunity to portray an African-American male mentor,^[33] and drew on his experiences of "[growing] up with a Juan".^[32] Janelle Monáe was sent the script and immediately connected to her role as Teresa, commenting that she too had family members with similar struggles relating to drugs and sexual identity.^[16]

Filming[edit]

Part of the film was shot in the Liberty Square housing project

Filming began on October 14, 2015, in Miami, Florida.^[25][34] After scouting for locations in Miami with Romanski,^[21]Jenkins made an effort to film in locations where he previously lived. Liberty Square, a housing project located in the neighborhood of Liberty City, was chosen as one of the primary locations as both McCraney and Jenkins grew up in the area.^[35][36] The film was shot undisturbed since Jenkins had relatives living in the area,^[21] though the cast and crew had police escorts.^[31] Naomie Harris later reflected:

“

It was the first time someone had come to their community and wanted to represent it onscreen, and since Barry Jenkins had grown up in that area, there was this sense of pride and this desire to support him. You felt this love from the community that I've never felt in any other location, anywhere in the world, and it was so strange that it happened in a place where people were expecting the complete opposite.[31]

”

During filming, Jenkins made sure that the three actors for Chiron did not meet each other until after filming to avoid any imitations of one another.^[37] Consequently, Rhodes, Sanders, and Hibbert filmed in separate two-week periods.^[36] Mahershala Ali frequently flew to Miami on consecutive weekends to film during the production of other projects.^[38][39][40] Naomie Harris shot all of her scenes in three days without rehearsals,^[30][31][40] while André Holland filmed the totality of his scenes in five.^[40] The film was shot in a period of twenty-five days.^[15]

Jenkins worked with cinematographer and longtime friend James Laxton, who previously shot Medicine for Melancholy.^[41] The two chose to avoid the "documentary look" and thus shot the film using widescreen CinemaScope on an Arri Alexa digital camera, which better rendered skin tone.^[38][41] With colorist Alex Bickel, they further achieved this by creating a color grade that increased the contrast and saturation while preserving the detail and color. As a result, the three chapters of the film were designed to imitate different film stocks. The first chapter emulated the Fuji film stock to intensify the cast's skin tones. The second chapter imitated the Agfa film stock, which added cyan to the images, while the third chapter used a modified Kodak film stock.^[42]

Editing[edit]

This section needs expansion with: a further discussion on technique and process. You can help byadding to it. (July 2017)

The film was edited in Los Angeles^[38] by Joi McMillon and Nat Sanders, former university schoolmates of Jenkins.^[41] Sanders was responsible for editing the first and second chapters.^[43] McMillon was responsible for the third act which included the "diner scene", a favorite of the cinematographer Laxton.^[44][45]

Music[edit]

The score of Moonlight was composed by Nicholas Britell. Britell applied the chopped and screwed technique from hip hop remixes to orchestral music, producing a "fluid, bass-heavy score". The soundtrack, released on October 21, 2016, consists of eighteen original songs by Britell along with others by Goodie Mob, Boris Gardiner, and Barbara Lewis.^[46] A chopped and screwed version was released by OG Ron C and DJ Candlestick of The Chopstars.^[47]

Moonlight: Original Motion Picture Soundtrack
Soundtrack album by  Nicholas Britell
Released	October 21, 2016
Genre	Soundtrack
Length	38:04
Label	Lakeshore Records LKS 348902
Producer	Nicholas Britell

Track listing[edit]

Moonlight: Original Motion Picture Soundtrack[48][49]
No.	Title	Artist	Length
1.	"Every N****r Is a Star"	Boris Gardiner	3:19
2.	"Little's Theme"	Nicholas Britell	0:59
3.	"Ride Home"	Britell	0:47
4.	"Vesperae solennes de confessore – Laudate dominum, K. 339 (Excerpt)" (Wolfgang Amadeus Mozart)	Britell	1:42
5.	"The Middle of the World"	Britell	2:02
6.	"The Spot"	Britell	1:23
7.	"Interlude"	Britell	0:25
8.	"Chiron's Theme"	Britell	0:56
9.	"Metrorail Closing"	Britell	1:42
10.	"Chiron's Theme Chopped & Screwed (Knock Down Stay Down)"	Britell	2:08
11.	"You Don't Even Know"	Britell	2:20
12.	"Don't Look at Me"	Britell	0:36
13.	"Cell Therapy"	Goodie Mob	4:37
14.	"Atlanta Ain't but so Big"	Britell	0:55
15.	"Sweet Dreams"	Britell	0:58
16.	"Chef's Special"	Britell	1:10
17.	"Hello Stranger"	Barbara Lewis	2:43
18.	"Black's Theme"	Britell	0:56
19.	"Who Is You?"	Britell	0:53
20.	"End Credits Suite"	Britell	5:13
21.	"Bonus Track: The Culmination"	Britell	1:55

Themes[edit]

Peter Bradshaw of The Guardian, lists "love, sex, survival, mothers and father figures" among its themes, particularly the lack of a nurturing father.^[50] However, A. O. Scott of The New York Times cites the character Juan as an example of how the film "evokes clichés of African-American masculinity in order to shatter them."^[51] In his review in Variety, Peter Debruge suggests that the film demonstrates that the African American identity is more complex than has been portrayed in films of the past.^[52] For example, while Juan plays the role of Little's defender and protector, he is also part of the root cause of at least some of the hardship the young boy endures.^[53]

A major theme of Moonlight is the black male identity and its interactions with sexual identity. The film takes a form similar to a triptych in order to explore the path of a man from a neglected childhood, through an angry adolescence, to self-realization and fulfillment in adulthood.^[50]

This particular story of Chiron's sexuality is also seen as a story of race in a 'post-Obama' era. The film amalgamates art film with hood film in its portrayal of African-American characters on-screen. Many technical film techniques are employed to juxtapose the characters and action on scene, including the use of an orchestral score done in the melody of popular R&B and hip-hop motifs. This specifically deals with theme of recuperating identity, especially in terms of blackness. The characters operate in an urban working-class city in Florida but are portrayed through art house conventions to create a new space for black characters in cinema. This mirrors Chiron's own odyssey to learning who he is, as he constantly struggles with trying to find some essentialism to his identity, yet consistently fails in doing so. The triptych structure helps to reiterate the fragmented personality to the film and Chiron.^[54]

Black masculinity[edit]

The film's co-writer, Tarell Alvin McCraney, speaks on the topic of black masculinity in the film, explaining why Chiron went to such lengths to alter his persona. He argues that communities without privilege or power seek to gain it in other ways. He says one way in which males in such communities do this is by trying to enhance their masculine identity, knowing that it often provides a means to more social control in a patriarchal society.^[55]

In Moonlight, masculinity is portrayed as rigid and aggressive, amongst the behavior of young Black males in Chiron's teenage peer group.^[56]The expression of hyper-masculinity among Black men has been associated with peer acceptance and community.^[57] Being a homosexual within the Black community, on the other hand, has been associated with social alienation and homophobic judgement by peers because Black gay men are seen as weak or effeminate. In the film, Chiron is placed in this divide as a Black gay man and alters his presentation of masculinity as a strategy to avoid ridicule because homosexuality is viewed as incompatible with Black masculine expectations. As young kids, Kevin hides his sexuality in order to avoid being singled out like Chiron is. As Chiron grows older, he recognizes the need to conform to a heteronormative ideal of Black masculinity in order to avoid abuse and homophobia. As an adult, Chiron chooses to embrace the stereotypical Black male gender performance by becoming muscular and a drug-dealer.^[56]

Moonlight explores the effects of this felt powerlessness in black males. As McCraney explains, coping with this feeling often coincides with attempts to overstate one's masculinity, in a way that can easily become toxic. He says one unfortunate side effect of leaning into masculinity too much is that men no longer want to be "caressed, or nurtured, or gentle," which is why a character like Juan may be puzzling to some audiences.^[55] Chiron's choice to value masculinity over the desire to be loved or caressed becomes evident in scenes like his first sexual encounter with Kevin. These ideas are related to Omise'eke Natasha Tinsley's essay "Black Atlantic, Queer Atlantic," in which she claims that the slave ships of the middle passage may have allowed for the formulation queer identities and relationships amongst the black men and women below deck. She argues the formulation of queer relationships was a method of resistance, providing love and comfort to black people when there should have been none.^[58] However, Chiron does not view the desire to form a homosexual bond as being compatible with his desire to claim his masculinity, and this false dichotomy is the source of much internal tension and strife in his character throughout the film.

Intersection of blackness, masculinity, and vulnerability[edit]

Blackness, masculinity, and vulnerability are major focuses of this film.^[59] In the beach scene with Chiron, Juan, his father figure in the film, emphasizes the importance of black identity. Juan says, "There are black people everywhere. Remember that, okay? No place you can go in the world ain’t got no black people. We was the first on this planet." As Juan speaks about the relevance and importance of the black experience, he also thinks about a time in his youth when a stranger told him "in moonlight, black boys look blue." This is an image that the audience gets to see as the director, Barry Jenkins, supplies numerous shots of Chiron in the moonlight. It seems that Juan seems to associate this image with vulnerability, given that he tells Chiron that he eventually shed the nickname "Blue" in order to foster his own identity. The scenes depicting Chiron in the moonlight are almost always the ones in which he's vulnerable, his intimate night on the beach with Kevin included. Throughout the film, this dichotomy between black and blue stands in for that between tough and vulnerable, with the black body often hovering between the two.^[60] In Chiron's situation, the black body, which can be seen as inherently vulnerable in American society, must be tough in order to survive, as seen by Chiron's final, very masculine and dominant identity.

Water[edit]

Water is often seen as cleansing and transformative and this is apparent in the film as well. Whether it be him swimming in the ocean or simply splashing water on his face, Chiron is constantly interacting with water. However, it is most notable that water is most often seen in the film in times of immense transition for Chiron. Throughout his life, Chiron resorts to water to bring him comfort e.g. taking baths when his mother is not home or swimming in the ocean with Juan. In the scene where Juan taught Little to swim, he explained to him the duality of water in relation to Black existence, a concept addressed in Omise'eke Natasha Tinsley's Black Atlantic, Queer Atlantic. The ocean is like a crosscurrent as Tinsley says, that can simultaneously be a place of inequality and exploitation as well as beauty and resistance. Tinsley describes how, "black queerness itself becomes a crosscurrent through which to view hybrid, resistant subjectivities and perhaps, black queers really have no ancestry except the black water."^[61] The water, is either an environment that can destroy Chiron or allow him to triumph and throughout the movie we see Chiron using the water to cope and find himself.

Release[edit]

Jenkins, Holland, and Sanders in Toronto

The film had its world premiere at the Telluride Film Festival on September 2, 2016.^[62] It also screened at the Toronto International Film Festival on September 10, 2016,^[63][64] the New York Film Festival on October 2, 2016,^[65][66] the BFI London Film Festival on October 6, 2016^[67] and the Vancouver International Film Festival on October 7, 2016.^[68] The film was released to select theaters on October 21, 2016,^[69] before beginning a wide release on November 18, 2016.^[70][71] The full UK cinema release was on February 17, 2017.^[72]

Marketing[edit]

The film's poster reflects its triptych structure, combining the three actors portraying Chiron into a single face.^[73] The producers employed no extra marketing for the film; interest in the film grew naturally up until the Academy Awards, induced by the critical reviews.^[74] The trailer for the film was released on August 11, 2016 in time for festival season. Mark Olsen of the Los Angeles Times referred to it "as one of the most anticipated films for fall".^[75]

On February 27, 2017, the day after the Academy Awards, Calvin Kleinreleased an underwear advertising campaign featuring four of the male actors in the film.^[76] On March 7, 2017, Beijing-based streaming video service iQiyi announced that it has acquired the rights to stream the film in China.^[77] The film is also available in home media format through iTunes and DVD.^[74]

Reception[edit]

Box office[edit]

Moonlight grossed $27.8 million in the United States and Canada and $37.5 million in other territories for a worldwide gross of $65.3 million, against a production budget of $4 million.^[7]

The film originally played in four theaters in its limited October 21, 2016 release, grossing $402,072 (a per-theater average $100,519).^[78] The film's theater count peaked at 650 in its wide opening on November 18, 2016, before expanding to 1,014 theaters in February. After the Oscars ceremony, A24 announced that the film would be played at 1,564 theaters.^[74] In the weekend following its Oscar wins the film grossed $2.5 million, up 260% from its previous week and marking the highest-grossing weekend of its entire theatrical release. It was also a higher gross than the previous two Best Picture winners, Spotlight ($1.8 million) and Birdman ($1.9 million), had in their first weekend following the Academy Awards.^[79]

Critical response[edit]

On Rotten Tomatoes, the film holds an approval rating of 99% based on 360 reviews, with an average rating of 8.99/10. The website's critical consensus reads, "Moonlight uses one man's story to offer a remarkable and brilliantly crafted look at lives too rarely seen in cinema."^[80] On Metacritic, the film holds a score of 99 out of 100, based on 53 critics, indicating "universal acclaim."^[81] On both websites, it was the highest-scoring film released in 2016.^[82][83]

David Rooney of The Hollywood Reporter wrote a positive review after Moonlight premiered at the 2016 Telluride Film Festival. He praised the actors' performances and described the cinematography of James Laxton as "fluid and seductive, deceptively mellow, and shot through with searing compassion." Rooney concluded that the film "will strike plangent chords for anyone who has ever struggled with identity, or to find connections in a lonely world."^[84] In a uniformly positive review for Time Out New York, Joshua Rothkopf gave Moonlight five stars out of five and praised Barry Jenkins' direction.^[85]

Brian Formo of Collider gave Moonlight an 'A−' grade rating, applauding the performances and direction but contending that the film "is more personal and important than it is great."^[86] Similarly, Jake Cole of Slant Magazine praised the acting, but criticized the screenplay, and argued that "so much of the film feels old-hat."^[87] In a review for The Verge, Tasha Robinson lamented the plot details omitted between the film's three acts, but wrote that "what does make it to the screen is unforgettable."^[88]

While discussing the film after its screening at the 2016 Toronto International Film Festival, Justin Chang of the Los Angeles Timesdescribed Moonlight as "achingly romantic and uncommonly wise," opining the film to be an early Oscar contender. Chang further wrote: "[Barry Jenkins] made a film that urges the viewer to look past Chiron's outward appearance and his superficial signifiers of identity, climbing inside familiar stereotypes in order to quietly dismantle them from within ... [Moonlight] doesn't say much. It says everything."^[89]

Writing for The London Review of Books in February 2017, Michael Woodcharacterized the film as a study of an inherited intergenerational tragedy:

“

[By the end of the film] there are still ten minutes of late Ingmar Bergman to go. The film keeps showing us Chiron's handsome, inscrutable face. The silence doesn't tell us anything, it just asks us to feel sorry for him ... All is not lost, though, because as we gaze at Chiron, we can think of something else: his resemblance to Juan (his father figure). Does it mean that Juan was once a Chiron ... Not quite that perhaps, but the last shot of the film is of the young Chiron sitting on the beach ... looking out at the ocean ... His wide eyes suggest all the desolation and promise that Juan saw in him at the beginning. If we started again, would things be different?[90]

”

Camilla Long of The Times wrote that the film's "story has been told countless times, against countless backdrops", and that the film is not "relevant" to a predominantly "straight, white, middle class" audience.^[91] Long was criticized by users on Twitter for the review, and was accused of being homophobic and racist in her writing.^[92][93]Catherine Shoard defended her by pointing out that "critics' opinions are subjective, and are supposed to be."^[94] However, David McAlmontreferred to Long's review as "not a review ... [but] a waspish response to other reviews."^[95]

Top ten lists[edit]

Moonlight was listed on numerous critics' top ten lists for 2016.^[96]

• 1st – A.O. Scott and Stephen Holden, The New York Times
• 1st – Kenneth Turan, Los Angeles Times (tied with Manchester by the Sea)
• 1st – Mark Olsen, Los Angeles Times
• 1st – Stephanie Zacharek, Time
• 1st – Michael Phillips, Chicago Tribune
• 1st – Alonso Duralde, TheWrap
• 1st – Bob Mondello, NPR
• 1st – Katie Rife, The A.V. Club
• 1st – Jake Coyle, Associated Press
• 1st – Kate Taylor, The Globe and Mail
• 1st – Keith Phipps, Uproxx
• 1st – Brian Tallerico, RogerEbert.com
• 1st – Jen Yamato, The Daily Beast
• 1st – Ty Burr, The Boston Globe
• 1st – Alissa Wilkinson, Vox
• 1st – Ann Hornaday, The Washington Post
• 1st – David Ehrlich & Eric Kohn, IndieWire
• 2nd – Justin Chang, Los Angeles Times
• 2nd – Alison Willmore, BuzzFeed
• 2nd – A.A. Dowd, The A.V. Club
• 2nd – Richard Lawson, Vanity Fair
• 2nd – Peter Debruge, Variety
• 2nd – Christy Lemire, RogerEbert.com
• 3rd – Peter Travers, Rolling Stone
• 3rd – Richard Roeper, Chicago Sun-Times
• 3rd – Manohla Dargis, The New York Times
• 3rd – Matt Zoller Seitz, RogerEbert.com
• 3rd – Rene Rodriguez, Miami Herald
• 3rd – John Powers, Vogue
• 3rd – Peter Hartlaub, San Francisco Chronicle
• 4th – Bill Goodykoontz, The Arizona Republic
• 4th – Matt Singer, ScreenCrush
• 4th – Lindsey Bahr, Associated Press
• 4th – Noel Murray, The A.V. Club
• 4th – Anne Thompson, IndieWire
• 5th – Ignatiy Vishnevetsky, The A.V. Club
• 6th – David Edelstein, New York Magazine
• 6th – Glenn Kenny, RogerEbert.com
• 6th – Christopher Orr, The Atlantic
• 7th – Mick LaSalle, San Francisco Chronicle
• 7th – Joshua Rothkopf, Time Out New York
• 7th – Bilge Ebiri, L.A. Weekly
• 8th – Amy Nicholson, MTV
• 9th – Tasha Robinson, The Verge
• 9th – James Berardinelli, Reelviews
• Top 10 (listed alphabetically) – Joe Morgenstern, The Wall Street Journal
• Top 10 (listed alphabetically) – Steven Rea, Philadelphia Inquirer
• Top 10 (listed alphabetically, not ranked) – Stephen Whitty, The Star-Ledger

Accolades[edit]

Main article: List of accolades received by Moonlight (2016 film)

At the 74th Golden Globe Awards, Moonlight received six nominations, the second highest of all film nominees.^[97] The film won the Golden Globe Award for Best Motion Picture – Drama, with additional nominations for five more: Best Director, Best Supporting Actor (for Ali), Best Supporting Actress (for Harris), Best Screenplay (for Jenkins) and Best Original Score (for Britell).^[98]

Moonlight received four nominations at the 70th British Academy Film Awards: Best Film, Best Actor in a Supporting Role, Best Actress in a Supporting Role and Best Original Screenplay.^[99]

Moonlight received eight nominations at the 89th Academy Awards, the second highest of all nominees, including Best Picture, Best Director, Best Supporting Actor (for Ali), Best Supporting Actress (for Harris) and Best Adapted Screenplay.^[100] The film won three awards: for Best Picture, Best Supporting Actor and Best Adapted Screenplay.^[101] At the ceremony, presenters Faye Dunaway and Warren Beatty read La La Landas the winner of Best Picture. Beatty later stated that he had mistakenly been given the duplicate Best Actress envelope, for which Emma Stonehad won for her role in La La Land several minutes prior.^[102] When the mistake was realized, La La Land producer Jordan Horowitz came forward to announce Moonlight as the correct winner.^[103]

Because the film's screenplay was based on a play that had not previously been produced or published, different awards have had different rules about whether it qualified in the original or adapted screenplay categories.^[104] It was classified as an original screenplay by both the Writers Guild of America Awards and the BAFTAs, but was ruled as an adapted screenplay according to Academy Award rules.^[104]

Nat Sanders and Joi McMillon were nominated for Best Film Editing, making McMillon the first black woman to earn an Academy Award nomination in film editing.^[105] It is also the first LGBTQ film to win Best Picture at the Academy Awards.^[106]

Cultural impact[edit]

The film is referenced in "Moonlight", a song from Jay-Z's studio album4:44.^[107]

See also[edit]

• List of LGBT-related films

References[edit]

1. ^ Moonlight Interview Barry Jenkins, accessed December 13, 2016.
2. ^ "Moonlight". British Board of Film Classification. Retrieved January 20,2017.
3. ^ @BarryJenkins (January 23, 2018). "Barry Jenkins on Twitter" (Tweet) – via Twitter.
4. ^ O'Falt, Chris (February 9, 2017). "The Craft of 'Moonlight': How a $1.5 Million Indie Landed Eight Oscar Nominations". Indiewire. Retrieved January 28, 2018.
5. ^ FilmL.A. (May 2017). "2016 Feature Film Study" (PDF). FilmL.A. Feature Film Study. Retrieved June 29, 2017.
6. ^ "Moonlight (2016)". Box Office Mojo. Retrieved April 2, 2017.
7. ^ Jump up to:a b "Moonlight (2016)". The Numbers. Retrieved May 26, 2017.
8. ^ Lee, Benjamin (September 3, 2016). "Moonlight review – devastating drama is vital portrait of black gay masculinity in America". The Guardian. ISSN 0261-3077. Retrieved February 28, 2017.
9. ^ Dargis, Manohla; Scott, A.O. (June 9, 2017). "The 25 Best Films of the 21st Century ... So Far". The New York Times. Retrieved July 8, 2017.
10. ^ France, Lisa Respers (February 28, 2017). "Oscar mistake overshadows historic moment for 'Moonlight'". CNN. Retrieved March 1, 2017.
11. ^ Rose, Steve (February 27, 2017). "Don't let that Oscars blunder overshadow Moonlight's monumental achievement". The Guardian. Retrieved February 27, 2017.
12. ^ Lincoln, Kevin. "Don't Let the Best Picture Debacle Overshadow Moonlight's Great Win". Vulture. Retrieved February 28, 2017.
13. ^ Zak, Dan (February 26, 2017). "Joi McMillon, the first African American woman to be nominated for best editing". The Washington Post. Retrieved March 1, 2017.
14. ^ Yan, Holly (February 27, 2017). "Mahershala Ali becomes first Muslim actor to win an Oscar". CNN. Retrieved March 1, 2017.
15. ^ Jump up to:a b Rodriguez, Rene (October 21, 2016). "Miami plays a starring role in the glorious 'Moonlight'". Miami Herald. Archived from the original on March 6, 2017. Retrieved January 29, 2017.
16. ^ Jump up to:a b c d e Kohn, Eric (October 19, 2016). "Barry Jenkins' Moonlight Interview: Journey To Making a Classic". IndieWire. Retrieved October 30, 2016.
17. ^ Jump up to:a b c Keegan, Rebecca. "To give birth to 'Moonlight,' writer-director Barry Jenkins dug deep into his past". Los Angeles Times. Retrieved October 30, 2016.
18. ^ Jump up to:a b c Fear, David (October 21, 2016). "'Moonlight': How an Indie Filmmaker Made the Best Movie of 2016". Rolling Stone. Retrieved October 30, 2016.
19. ^ Davidson, Aaron (October 15, 2016). "Tarell Alvin McCraney: The man who lived 'Moonlight'". NBC News. Archived from the original on March 1, 2017. Retrieved March 1, 2017.
20. ^ Halperin, Moze (October 21, 2016). "Playwright Tarell Alvin McCraney Discusses the Piece That Inspired 'Moonlight'". Flavorwire. Archivedfrom the original on March 1, 2017. Retrieved March 1, 2017.
21. ^ Jump up to:a b c Stephenson, Will. "Barry Jenkins Slow-Cooks His Masterpiece". The Fader. Retrieved October 22, 2016. A mutual friend in Miami passed along a copy of McCraney's play a few years ago, knowing Jenkins would be interested. When he read it, he thought its tripartite structure offered "a new way of looking at the dynamics of a relationship, of fate and possibility." He'd wanted to make a film in three parts.
22. ^ Hannah-Jones, Nikole (January 4, 2017). "From Bittersweet Childhoods to 'Moonlight'". The New York Times. Retrieved January 29, 2017.
23. ^ Jaafar, Ali (August 24, 2015). "A24 Teams With Plan B & Adele Romanski To Produce And Finance Barry Jenkins' 'Moonlight'". Deadline Hollywood. Retrieved October 22, 2015.
24. ^ Coyle, Jake. "The 3 stars of 'Moonlight' share a role and a breakthrough". The Big Story: Associated Press. Retrieved November 12, 2016.
25. ^ Jump up to:a b McNary, Dave (October 21, 2015). "Naomie Harris, Andre Holland, Mahershala Ali to Star in 'Moonlight'". variety.com. Retrieved October 22, 2015.
26. ^ Obenson, Tambay A. (October 21, 2015). "Barry Jenkins' 'Moonlight' Draws Naomie Harris, Andre Holland, Mahershala Ali, Janelle Monae + Others". IndieWire. Retrieved November 12, 2016.
27. ^ Osenlund, R. Kurt (October 24, 2016). "Trevante Rhodes Shines in 'Moonlight,' This Fall's Essential Queer Black Film". Out. Retrieved November 12, 2016.
28. ^ Jump up to:a b Formo, Brian (October 21, 2016). "'Moonlight': Mahershala Ali, Naomie Harris and Andre Holland on Masculinity, Addiction". Collider. Retrieved November 12, 2016.
29. ^ Atad, Corey (October 24, 2016). "Why André Holland Knew He Couldn't Turn Down a Movie Like 'Moonlight'". Esquire. Retrieved November 12,2016.
30. ^ Jump up to:a b c Tapley, Kristopher (October 3, 2016). "Naomie Harris Had to Overcome Her Own Judgment to Play 'Moonlight' Role". Variety. Retrieved October 19, 2016.
31. ^ Jump up to:a b c d Buchanan, Kyle (October 18, 2016). "How Naomie Harris Filmed Her Stunning Moonlight Role in Just 3 Days". Vulture.com. Retrieved October 19, 2016.
32. ^ Jump up to:a b Grady, Pam. "With 'Moonlight' and more, Mahershala Ali hits stratosphere". San Francisco Chronicle. Retrieved November 12, 2016.
33. ^ Hill, Logan (October 20, 2016). "Mahershala Ali? You've Surely Seen His Face". The New York Times. Retrieved November 12, 2016.
34. ^ Lesnick, Silas (October 21, 2015). "Moonlight Cast Announced as Production Begins". comingsoon.net. Retrieved October 22, 2015.
35. ^ Keegan, Rebecca. "Telluride Film Festival audiences take a shine to Barry Jenkins' 'Moonlight'". Los Angeles Times. Retrieved October 24,2016.
36. ^ Jump up to:a b Cusumano, Katherine. "Meet Ashton Sanders, the Breakout Star of "Moonlight"". W Magazine. Retrieved December 10, 2016.
37. ^ Jacobs, Matthew (October 19, 2016). "Janelle Monáe Brings The Good Fight To Hollywood In Two Standout Roles". The Huffington Post. Retrieved December 10, 2016.
38. ^ Jump up to:a b c Kilday, Gregg. "How 'Moonlight' Became a "Personal Memoir" for Director Barry Jenkins: "I Knew the Story Like the Back of My Hand"". The Hollywood Reporter. Retrieved December 10, 2016.
39. ^ Shepherd, Jack (September 30, 2016). "Mahershala Ali interview: 'I grew up not seeing myself on screen ... It feels like you don't exist'". The Independent. Retrieved December 10, 2016.
40. ^ Jump up to:a b c Ellwood, Gregory. "The cast of 'Moonlight' found reassurance and freedom under shooting pressures". Los Angeles Times. Retrieved January 7, 2017.
41. ^ Jump up to:a b c Aguirre, Abby. "Moonlight's Cinematographer on Filming the Most Exquisite Movie of the Year". Vogue. Retrieved January 7, 2017.
42. ^ O'Falt, Chris (October 26, 2016). "Moonlight Cinematography: Bold Color, Rich Skin Tone, High Contrast". IndieWire. Retrieved October 29,2016.
43. ^ Galas, Marj (January 26, 2017). "Florida State Classmates Helped Make Barry Jenkins' 'Moonlight' Shine". Variety. Retrieved February 1, 2017.
44. ^ Harris, Aisha (February 21, 2017). "Moonlight Editor Joi McMillon on That Pivotal Diner Scene and Showcasing the Love of Cooking". Slate. Retrieved March 4, 2017.
45. ^ Moakley, Paul (February 22, 2017). "Behind the Making of the Oscar-Nominated Film 'Moonlight'". TIME.com. Retrieved March 4, 2017.
46. ^ Dandridge-Lemco, Ben. "Hear The Moonlight Original Soundtrack, Composed By Nicholas Britell". The Fader. Retrieved December 9, 2016.
47. ^ "Listen To A Chopped and Screwed mix of the Moonlight Soundtrack". The Fader. Retrieved February 25, 2017.
48. ^ "'Moonlight' Soundtrack Announced". Film Music Reporter. Retrieved February 25, 2017.
49. ^ "Moonlight (Original Motion Picture Soundtrack) by Nicholas Britell". iTunes. Retrieved February 25, 2017.
50. ^ Jump up to:a b Bradshaw, Peter (February 2, 2017). "Moonlight review – a visually ravishing portrait of masculinity". The Guardian. Retrieved March 7,2017.
51. ^ Scott, A. O. (October 20, 2016). "'Moonlight': Is This the Year's Best Movie?". The New York Times. ISSN 0362-4331. Retrieved March 6,2017.
52. ^ Debruge, Peter (September 3, 2016). "Film Review: 'Moonlight'". Variety. Retrieved March 6, 2017.
53. ^ Hornaday, Ann; Hornaday, Ann (October 27, 2016). "'Moonlight' is both a tough coming-of-age tale and a tender testament to love". The Washington Post. Archived from the original on November 8, 2016. Retrieved March 6, 2017.
54. ^ Kannan, Menaka (August 1, 2017). "Watching Moonlight in the Twilight of Obama". Humanity&Society. doi:10.1177/0160597617719889.
55. ^ Jump up to:a b BBC Newsnight, Moonlight's Tarell Alvin McCraney: 'I'm still that vulnerable boy' - BBC Newsnight, retrieved December 11, 2018
56. ^ Jump up to:a b Watts, Stephanie (February 17, 2017). "Moonlight And The Performativity of Masculinity". One Room with a View. Retrieved February 11, 2019.
57. ^ Fields, Errol (2016). "The Intersection of Sociocultural Factors and Health-Related Behavior in Lesbian, Gay, Bisexual, and Transgender Youth: Experiences Among Young Black Gay Males as an Example". Pediatric Clinics of North America. 63 (6): 1091–1106.
58. ^ Tinsley, O. N. (January 1, 2008). "BLACK ATLANTIC, QUEER ATLANTIC: Queer Imaginings of the Middle Passage". GLQ: A Journal of Lesbian and Gay Studies. 14 (2–3): 191–215. doi:10.1215/10642684-2007-030. ISSN 1064-2684.
59. ^ q on cbc (October 28, 2016), Moonlight director Barry Jenkins on changing the perception of manhood, retrieved March 23, 2019
60. ^ criticole (February 22, 2017), Pink & Blue in Moonlight, retrieved March 23, 2019
61. ^ Tinsley, Omise'eke Natasha (June 1, 2008). "BLACK ATLANTIC, QUEER ATLANTICQueer Imaginings of the Middle Passage". GLQ: A Journal of Lesbian and Gay Studies. 14 (2–3): 191–215. doi:10.1215/10642684-2007-030. ISSN 1064-2684.
62. ^ Hammond, Pete (September 1, 2016). "Telluride Film Festival Lineup: 'Sully', 'La La Land', 'Arrival', 'Bleed For This' & More". Deadline Hollywood. Retrieved September 1, 2016.
63. ^ Vlessing, Etan (August 11, 2016). "Toronto: Natalie Portman's 'Jackie' Biopic, 'Moonlight' From Brad Pitt's Plan B Join Lineup". The Hollywood Reporter. Retrieved August 11, 2016.
64. ^ "Moonlight". Toronto International Film Festival. Archived from the original on September 6, 2016. Retrieved August 29, 2016.
65. ^ Cox, Gordon (August 9, 2016). "New York Film Festival Loads 2016 Main Slate With Festival-Circuit Favorites". Variety. Retrieved August 11,2016.
66. ^ "Moonlight". New York Film Festival. Retrieved August 19, 2016.
67. ^ "Moonlight". BFI London Film Festival. Retrieved September 1, 2016.
68. ^ "Day 9: Today's Highlights". Vancouver International Film Festival. Retrieved September 19, 2017.
69. ^ D'Alessandro, Anthony (June 28, 2016). "A24 Sets Dates For 'Moonlight' & Cannes Jury Prize Winner 'American Honey'". Deadline Hollywood. Retrieved August 11, 2016.
70. ^ Hime, Nelly (October 24, 2016). "'Moonlight' & 'Michael Moore In TrumpLand' Top 2016 Theater Averages – Specialty B.O." Deadline Hollywood. Retrieved October 24, 2016.
71. ^ Hime, Nelly (October 24, 2016). "Moonlight 2016 Dominates Speciality Box Office, Gets Wide Release Date". NagameDigital. Archived from the original on October 24, 2016. Retrieved October 24, 2016.
72. ^ Collin, Robbie (October 6, 2016). "Moonlight review: a graceful, compassionate coming-of-age heartbreaker". The Telegraph. Retrieved January 11, 2017.
73. ^ West, Amy (December 22, 2016). "Best film posters of 2016 from Jackie and Moonlight to Star Trek Beyond". International Business Times UK. Retrieved March 1, 2017.
74. ^ Jump up to:a b c Jacobs, Matthew (March 1, 2017). "'Moonlight' Will Expand To A Lot More Theaters After Oscar Win". The Huffington Post. Archivedfrom the original on March 1, 2017. Retrieved March 1, 2017.
75. ^ Olsen, Mark (August 11, 2016). "Watch: Barry Jenkins' anticipated indie drama 'Moonlight' starring Mahershala Ali and Janelle Monáe". Los Angeles Times. Archived from the original on March 1, 2017. Retrieved March 1, 2017.
76. ^ Harwood, Erika (February 27, 2017). "Mahershala Ali and the Cast of Moonlight Are the Latest Calvin Klein Underwear Models". Vanity Fair: Vanities. Archived from the original on March 1, 2017. Retrieved March 1, 2017.
77. ^ Patrick, Brzeski (March 7, 2017). "China's iQiyi Acquires Streaming Rights to 'Moonlight,' 'La La Land'". The Hollywood Reporter. Retrieved March 7, 2017.
78. ^ Brooks, Brian (November 13, 2016). "Ang Lee's 'Billy Lynn's Long Halftime Walk' 2016's 3rd Best Average; Paul Verhoeven's 'Elle' Bows Strong – Specialty Box Office". Deadline Hollywood. Retrieved November 14, 2016.
79. ^ "'Logan's $85.3M Debut Breaks Records For Wolverine Series & Rated R Fare; Beats 'Fifty Shades' & 'Passion Of The Christ'", Deadline Hollywood, retrieved March 5, 2017
80. ^ "Moonlight (2016)". Rotten Tomatoes. Fandango Media. Retrieved July 13, 2019.
81. ^ "Moonlight Reviews". Metacritic. CBS Interactive. Retrieved August 24,2019.
82. ^ "The Best Movies of 2016". Metacritic. CBS Interactive. Retrieved February 26, 2017.
83. ^ "Top 100 Movies of 2016". Rotten Tomatoes. Fandango Media.
84. ^ Rooney, David (September 2, 2016). "'Moonlight': Telluride Review". The Hollywood Reporter. Retrieved September 12, 2016.
85. ^ Rothkopf, Joshua (September 11, 2016). "Moonlight (2016), directed by Barry Jenkins". Time Out New York. Retrieved September 12, 2016.
86. ^ Formo, Brian (September 5, 2016). "'Moonlight' Review: Gay Triptych Features Great Performances". Collider. Retrieved September 12, 2016.
87. ^ Cole, Jake (September 15, 2016). "Toronto Film Review: Barry Jenkins' Moonlight". Slant Magazine. Retrieved September 19, 2016.
88. ^ Robinson, Tasha (September 15, 2016). "Moonlight is a beautifully nuanced gay coming-of-age tale". The Verge. Retrieved September 15,2016.
89. ^ Chang, Justin (September 11, 2016). "Toronto 2016: Barry Jenkins' 'Moonlight' makes the case for quiet eloquence". Los Angeles Times. Retrieved September 12, 2016.
90. ^ Wood, Michael (February 16, 2017). "At The Movies". The London Review of Books. p. 12.
91. ^ Long, Camilla (February 19, 2017). "Film review: Moonlight and Hidden Figures". The Times. Retrieved February 27, 2017.
92. ^ Mendoza, Kerry-Anne (February 19, 2017). "You're not imagining it. That review by Sunday Times film critic Camilla Long isn't just stupid, it's racist [TWEETS]". The Canary. Archived from the original on February 27, 2017. Retrieved February 27, 2017.
93. ^ Liddle, Rod (February 22, 2017). "Camilla Long's 3* review of Moonlight doesn't make her a racist". The Spectator. Retrieved February 27, 2017.
94. ^ Shoard, Catherine (February 22, 2017). "Should critics of Moonlight be hounded for having an opinion?". The Guardian. Retrieved February 27,2017.
95. ^ McAlmont, David (February 22, 2017). "To Camilla Long: In Defence Of Moonlight". The Huffington Post. Retrieved March 3, 2017.
96. ^ "Best of 2016: Film Critic Top Ten Lists". Metacritic. Retrieved March 6, 2017.
97. ^ "Golden Globes 2017: The Complete List of Nominations". The Hollywood Reporter. December 12, 2016. Retrieved December 12, 2016.
98. ^ Lee, Ashley (January 8, 2017). "Golden Globes: 'La La Land' Breaks Record for Most Wins by a Film". The Hollywood Reporter. Retrieved January 12, 2017.
99. ^ Ritman, Alex (January 9, 2017). "BAFTA Awards: 'La La Land' Leads Nominations". The Hollywood Reporter. Retrieved January 10, 2017.
100. ^ "Oscars Nominations 2017: The Complete List of Nominees". The Hollywood Reporter. January 24, 2017. Retrieved January 24, 2017.
101. ^ "The 89th Academy Awards (2017) Nominees and Winners". Academy of Motion Picture Arts and Sciences (AMPAS). Retrieved February 26,2017.
102. ^ Shepherd, Jack (February 27, 2017). "Emma Stone reacts to Moonlight winning over La La Land at the Oscars". The Independent. Retrieved February 28, 2017.
103. ^ Rothman, Michael (February 26, 2017). "'Moonlight' wins best picture after 'La La Land' mistakenly announced". ABC News. Retrieved February 27, 2017.
104. ^ Jump up to:a b "Oscars: Moonlight ineligible for Best Original Screenplay". Entertainment Weekly, December 15, 2016.
105. ^ Giardina, Carolyn (January 24, 2017). "Oscars: 'Moonlight' Editing Nomination Marks a First". The Hollywood Reporter. Retrieved January 24, 2017.
106. ^ Lang, Nico (February 27, 2017). ""Moonlight" is the first LGBT movie to win best picture. Here's why it matters". Salon. Archived from the original on March 5, 2017. Retrieved March 5, 2017.
107. ^ https://www.washingtonpost.com/news/arts-and-entertainment/wp/2017/08/06/jay-zs-moonlight-music-video-does-more-than-simply-show-friends-with-an-all-black-cast/