REVIEW: Moonlight

13 02 2017

“Who is you, Chiron?” Characters pose this question – or, perhaps, exhortation – to the protagonist of “Moonlight” as he ages. It’s not exactly so much an inquiry in search of answer as it is an expression of confusion at the bundle of contradictions and inconsistencies before them.

Writer/director Barry Jenkins makes these divisions of the self apparent by showing Chiron at three unique stages of his development, portrayed by a different actor at each phase. All bear a different name as well. Alex Hibbert’s Little is the youngest, a boy who makes his earliest attempts to make sense of his emotions and environment in drug-riddled Miami. Ashton Sanders’ Chiron navigates the tricky straits of adolescence as a sensitive, withdrawn teenager with no real recourse or comfort. Trevante Rhodes’ Black swaggers about with the toughness of a man, but that confidence wilts away when standing in front of key figures from his past.

These are three personas, but how does one reconcile them into one consistent identity? Chiron’s crack-addicted mother, Naomie Harris’ Paula, certainly can’t. The closest thing he has to a friend, Kevin, only manages the occasional peep beyond the posturing and performance. And given the way that Jenkins structures the film, we as the audience are not meant to click these into place like pieces of a jigsaw puzzle. Making sense of a person is not this easy. There are gaps we cannot fill, thoughts we cannot know.

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REVIEW: Hidden Figures

4 01 2017

Hidden Figures” features three black female protagonists – or, rather, the film features what feels like a single protagonist with three different facets all fighting different incarnations of the same struggle. During the heat of the space race, this trio of women little known to history played a tremendous role in boosting the fortunes and morale of a nation that still treated them like second-class citizens.

The mathematical calculations of Taraji P. Henson’s Katherine Johnson helped ensure that John Glenn could orbit the earth safely, but she had to contend with institutional racism and sexism that hampered her performance. Octavia Spencer’s Dorothy Vaughn learned how to work NASA’s first IBM computer, primarily because discriminatory hiring practices prevented her from traditional professional advancement. Janelle Monáe’s Mary Jackson became one of the agency’s most brilliant engineers, although in order to do so, she had to fight segregation in the courts to get the education she needed for the job.

While Henson might get the most screen time of the three – she’s the one whose romantic interests that writers Theodore Melfi and Allison Schroeder care to develop – the film really does feel like it possesses a set of co-leads. Their day-to-day struggles might be different, as are the people keeping them from reaching their full potential. Yet together, they provide each other with the strength to tear down the limitations holding them back: first within themselves, then in their workplace, and soon enough the world.

Even as “Hidden Figures” hews closer to the sentimentality of “The Help” than the strategizing of “Selma,” the film gives specificity and definition to each character. Though their hurdles might look the same, Melfi’s direction never allows them to become flattened out or treated as one in the same. The film could have foregone many scenes so obviously built around a vamp up to a Civil Rights-era declaration of humanity, but the cumulative effect of this inspiration and representation is tough to deny. These women were owed respect in their time, not only for their work but also for all they had to do in order to perform that work. It’s wonderful that the film brings their lives into the limelight. B+3stars