In childhood, the rare warmth in life came from the drug dealer who provided drugs to his mother. He rescued Chiron who was trapped in a small room, invited him to eat, taught him to swim, sat on the beach and told him about his childhood, and gently told the frailty. The boy of love, in moonlight, black boys look blue. The boy stood on the beach, raised his feet, and jumped into the splashing waves. The red clothes jumped with rare lightness against the blue sea. This is a point-to-point conversation, and it is the most important memory that creates a sense of time and space in the movie. The beach has since become a symbol. The anxiety of the first physical touch during adolescence, the double mirror during road trips, and the sound of waves outside the house of the first lover after adulthood, the blue series connect the experience, extremely generous, and get rid of the constraints of time and space. Barry Jenkins, a black director with a family environment similar to that of the protagonist in his childhood, uses a subtle and melancholic poetry that is different from the general black culture to transform Tarell's personal moments and memories into smooth audio-visual language. Inject the power of calmness into simple stories.
In addition, the attentive audience will capture the connection between this delicate black director and Eastern culture in many details. In the three stories, whether it is the decoration of the home, the accompaniment played during the journey, or the chef Kevin in white overalls, they all have a similar flavor to the aesthetics of Wong Kar-wai. Indeed, the director is also frank, "The Best Time" and "Happy Together" are his beloved works. It is not difficult to understand why the growth and life of black boys shown in it are greatly changed and different from those depicted in previous film and television works. If the medicine for melancholy in 2008 is like an excellent experimental work with great emotional tension, moonlight is an expansion, strengthening and integration of the director's own aesthetic system. The contrasting colors, flashing dreams, and the disappearance of sounds at certain moments can all show his pursuit of form and poetry. In the documentary film the first Monday in May, Wang Jiawei, as the cultural consultant of meta gala, and the curator at the time Andrew Bolton talked about a truth that sounds no different from chicken soup: seeing everything is seeing nothing. Putting this sentence here seems to be a good explanation of the situation that this movie has fallen into in a certain aspect: the director tried his best to render in every plot that needs to show emotions, but after all, he has not realized the importance of white space. sex.
However, even with this shortcoming, the expression of the film is still fascinating. The most impressive thing is the three rotations of the protagonist's perspective. The first two are the hands of the lucky encounter in a crisis, and the third is completely defeated in the slight hope. If the youth's awakening needs a time node, then Chiron's was born from the practice of rebellious consciousness inspired by despair. Since then, the future and the past have been separated, parallel to each other in different time and space, and the thin boy has become stronger and started a new life in Georgia.
However, this separation is extremely passive. After the awakening, the teenager did not get the fairness and understanding that should have come, but lost the last straw of his youth in the eyes of his love partner with mixed feelings but powerless. In the third chapter, the full grown up man under the lens has the same open, hesitant and nervous lips as when he was a teenager. He walks alone, and when he wakes up, he only has a gold watch and an alarm clock, and he cannot see the worldly definition. The courage that a drug dealer should have.
For Chiron, awakening is just like the stomach wall that is repeatedly rubbed when he is hungry. Even if he tries to get rid of the memory of being dismissed as an adult, he will only get a dull pain day after day. His heart stopped forever at the moment when his friend kevin added his punches. About betrayal, about forgiveness, about farewell, he who grew up in a slum and owns a poisonous insect mother has never had a clear understanding, but in the vagueness, the world gave him another blow. In this way, the so-called new life is really like a ridiculous joke. Betrayed in the desire for self-help, but the world has never noticed the pain of this young man. Even if he develops into a sturdy pair in the future, imitating a childhood idol and embarking on a drug deal, pulling away the layers of indestructible shell, the inner devastation is still there, and the memories that have worked hard to repair are actually shattered at the touch of a touch.
Therefore, the trip that was caused by a sudden call is even more significant.
At the beginning of the journey, the air in the director’s lens was cold. When viewed from a distance, the picture was cut into two pieces. Within a few seconds, a certain strong emotion was connected by dots into a line, and then merged into a surface, from static to spreading, flowing. Out of the eyes, it filled the whole journey, but at the moment of being perceived, it was diluted by the sudden waves: it was indescribable, turned into melancholy, and tension was built up under the calm language of the lens. Then, the car slowly drove into the surging memory, moved forward in the blur, and finally disappeared. In a piece of blue, the boy's white shirt was blown by the sea breeze, and the strange back figure reminded of the other two running children, as if returning to the dazzling green grass. Chasing, clearing, approaching the profile, where there is the closest thing to reality about love.
Ten years ago, black boys stubbornly walked in the opposite direction from home, but reality told him that avoiding is not getting rid of. So 10 years later, when I touched the outer edge of home again, the once little driving through the early morning vision and the dusky ambiguity, finally discovered that an opposite road represents never another destination, but life gives him The troubles of going around and waiting, let us have enough courage to give love a new definition of tolerance before we open a new door.
The chef's special, the red wine drunk in one drink, and the stare at each other in the square space, opens up real growth. The tenderness of the lover is no longer a misty smoke ring in a colorful dream, but a beach that has never been forgotten. It's the waves hitting the sand on the shore, it's the choking that can show your heart and let go of your disguise, it's the shoulder that you can finally lean on.
At the end of the film, little standing on the beach turned his head and looked at every face in front of the screen that was shining brightly in blue. Time starts from here on a non-linear journey, the past and the future, opening a new chapter in the most familiar posture. The person in your dream embraces you, and the nickname on the license plate is no longer just a chastity-like mourning, but another starting point for life. in moonlight black boys look blue, his eyes are firm, but he contemplates the meaning of time entrusted to growth. At that moment, life finally found an outlet for forgiveness and reconciliation.
And this moment also made too many people understand why even if the flaws exist, the media are still willing to express their love for this movie with sincere and warm praise. Stealing the poetry of Eastern aesthetics, the director gave everyone a fairy tale in the light and shadow that seems to be perfect when it is broken. It tells every audience who has been or is trying to get rid of painful memories that aching memory can be transformed into gentleness. Political correctness has nothing to do with black issues. Those men and women who walked out of the theater with tears in their eyes have also verified once again: The
original way of returning and being saved is common to the whole world and all mankind.
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