'Moonlight': A Retrospective on Barry Jenkins' Masterpiece
Barry Jenkins' masterpiece holds up as the story of a lifetime centered on the intersection of Blackness and gay identity.

Into a photography studio full of large fantastic machines steps an elderly couple. The bearded proprietor explains the equipment and gives them a demonstration: he starts machines whirring, and projects a painting of three women onto a large screen; suddenly the women begin to move. The customers are impressed. First the women sits in the special seat: she's projected onto the screen, and her good nature comes out in the laughing image. Then it's the man's turn, but the machine discloses a vastly different nature in him. Will his reaction threaten our proprietor's inventions?
Barry Jenkins' masterpiece holds up as the story of a lifetime centered on the intersection of Blackness and gay identity.
Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.
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