There used to be a saying that the best picture at the Oscars is not a good-looking film in the secular sense. So when the creators of "La La Land" came to the stage to give their acceptance speeches this year, I felt that this rule was broken. Until the organizer showed the sign of "Moonlight Boy", and repeatedly emphasized: this is not a joke
Of course, I'm not saying that "Moonlight" is not good-looking, on the contrary, as a literary film, his rhythm and picture are quite satisfactory. However, as in previous years, the award for "Moonlight" was once again labeled as politically correct. From "Escape from Tehran" to "12 Years a Slave", doubts about the political correctness of the best picture seem to have become a habit. But as far as this film is concerned, I think this judgment is unfair.
Such remarks stem from nothing more than two elements of the film: black and gay. But if you watch the film seriously, you will find that neither of these two factors has played a substantial role in the development of the film. There is neither a black-white conflict nor a gay struggle for equality in this film. After all, in today's society, questioning black and gay identities has become a politically incorrect thing in itself. It is an exaggeration to say that even if these two factors are completely removed, it will not affect the expression of the film.
When we talk about elements of political correctness, we tend to steer the conversation in a larger direction. Taking "Escape from Tehran" and "12 Years a Slave" as examples, the films both rise to thinking about politics and history. But in "Moonlight", you can't see such a shadow at all. This is just a story about a boy, a story about a boy growing up alone.
The film is divided into three parts, showing Chiron's childhood, adolescence and youth. The stories of the three periods were shot by different actors, but no matter at which stage, the conflicts and contradictions of life always run through Chiron's life . His mother was addicted to drugs, and when the drug addiction developed, she would use a harsh tone to sneer at her children and ask her children for money. But after she calmed down, she would caress him again and whisper: Mommy loves you so much.
Chiron's childhood friend Juan seemed to be the only person he could rely on and trust at the time. He gave him food and shelter, took him for a swim, and seemed to be a solace in his unfortunate life. But Juan is a drug dealer who also sold the drugs to Chiron's mother, who in turn is the one who created Chiron's unfortunate life.
The young Chiron met Kevin, and the two gradually fell in love. But to hide his sexuality, Kevin hits him hard. Facing the teacher's question, Chiron could only cry and answer: "You don't know anything". Later, he entered the juvenile detention center for revenge. The person he loved hurt him the most and changed his life.
The young Chiron has been inlaid with gold teeth, joined the gang, and cultivated his own younger brother. He has developed a whole body of muscles, and he is no longer the weak look he used to be. But in the face of his reunion with Karen, he changed back to the silent and shy boy he was when he was a teenager.
Kevin told him that many things are not what you see them. For Chiron, it may be difficult to come to a conclusion about what the people around him and life itself are like. He is surrounded by companions who are both good and bad, loved and hated. In such an environment, he can only face contradictions and find a way out of life. From enduring silently to breaking out in an instant, to arming himself with "golden teeth", Chiron grew up in the contradiction and gradually became a part of the contradiction.
At the end of the film, the director flashes back to Chiron's childhood, standing by the sea, the moonlight shining on his dark skin, reflecting a blue light as Juan told him. This shot has nothing to do with political correctness. He is telling the audience: even though life is full of contradictions, don't forget who you are and who you are at first.
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