Medicine for Melancholy (2008)

With the director’s second film Moonlight gathering so much critical acclaim, there have been a few screenings (like this one) of his 2008 debut, which never made much of a splash over in the UK aside from a London Film Festival appearance. It’s a relationship drama set in San Francisco between two people. On the one hand, there’s a story of feelings (because “love” is probably too strong a term), as these two are roused the morning after a drunken one-night stand and spend the ensuing day in one another’s company. But it’s also the story, not coincidentally, of two black people. Two black people, to the point, who live in an increasingly white city, a rapidly gentrifying city — a city of coffee shops and kombucha and technology (MySpace — either a dated reference, or a thematically-loaded harbinger), a city of indie pop club nights and museums presenting black historical experiences which, being in a museum environment, have a certain alienated character. There’s a level at which this is like a terrifying sci-fi in which these two people are the last two in a bland expanse of corporatised white space. Or at least that feels like maybe the story Micah (Wyatt Cenac) is trying to tell, whereas Joanne (Tracey Heggins) isn’t exactly having it. In this dialogue on race and the city space, which enters and leaves the film periodically, their relationship pushes and pulls. Likewise, colour bleeds, almost imperceptibly at times, into and out of the image (for much of the time it’s a stark black-and-white). Still, ultimately this is a film about two people spending a day together, and at that it feels unforced and real. It feels a long way from Moonlight, but maybe in being about that contested space between two people, it’s not so far after all.


SPECIAL SCREENING FILM REVIEW
Director/Writer Barry Jenkins | Cinematographer James Laxton | Starring Wyatt Cenac, Tracey Heggins | Length 88 minutes || Seen at Picturehouse Central, London, Monday 13 February 2017

Moonlight (2016)

I am hardly the person to attempt a critique of this film, for so many reasons, at so many levels, so take my comments as just a brief personal response to a film that will be sure to be in many top-10 lists this year and next (it’s not officially released in the UK until February).

I found a great deal to appreciate in the filmmaking, which, for all the limitations of its budget and shooting/rehearsal time (as the director talked about in a Q&A after my screening), has clearly been constructed with a lot of care. It follows a tripartite structure, three ages of a character, three different acts in one life, which is also refracted as multiple lives in a sense. The first character we see (Mahershala Ali’s Juan, whose role is confined to the first part of the film) is a reflection of the man the protagonist Chiron (at that point called ‘Little’) becomes by the film’s third part, and it’s tempting to read some of the same feelings into Juan that Little/Chiron/Black is grappling with.

The milieu the director is playing with at once seems all too familiar (something almost of clichés, and certainly of too many bad ‘ghetto’ dramas) but never follows the expected contours, such that the scenes are infused with the constant expectation of violence, and even when they don’t play out that way, a strong sense of trauma is still conveyed, a sense of an experience lived in this place, which is also (partially) the director’s own.

Ultimately, for all its formal gravitas — the polished lighting, the (presumably intentionally) dizzying camerawork, the music and orchestral score, the structure — despite all this, the heart of the movie, and what I liked so much in it, was in the acting: all three of the actors playing Chiron at different ages (Alex Hibbert, Ashton Sanders and then Trevante Rhodes) do wonders with very few words. The character of Chiron and the way he develops puts across the generational pain of toxic masculinity in a powerful way. It also, I hope — I really hope — augurs more films exploring its particular intersection of identities, because it also feels like a film that’s trying to make up for a lot of missed opportunities.


Moonlight (2016)

ADVANCE SCREENING FILM REVIEW
Director/Writer Barry Jenkins (based on the play In the Moonlight Black Boys Look Blue by Tarell Alvin McCraney) | Cinematographer James Laxton | Starring Trevante Rhodes, André Holland, Ashton Sanders, Alex Hibbert, Naomie Harris, Mahershala Ali | Length 110 minutes || Seen at Curzon Mayfair, London, Monday 5 December 2016