'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.

In 1960, the ruins of an American bomber were found in the Libyan desert, but the remains of the crew were never located. In Guerdon Trueblood's teleplay, the ghosts of a bomber crew hang around their derelict plane, awaiting the day that their bones will be recovered and given a decent burial. The sole survivor, navigator Russell Hamner, has in the intervening 25 years become a General. He joins an investigation team that has come across the wreckage, while the ghosts, headed by Major Devlin, plot to expose Hamner as a coward who deserted his post and left his crew mates to die.
Barry Jenkins' masterpiece holds up as the story of a lifetime centered on the intersection of Blackness and gay identity.
When diverse representation is featured on-screen, it oftentimes comes with strings attached that undermine the message they were trying to send. This can be attributed to the fact that behind-the-screen, the industry primarily does not reflect the breadth of diverse difference that is present in daily life. That’s why when something as powerful and authentic as Minari comes along, it is both incredibly wonderful and needs a large audience to witness it.
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I’m still trying to comprehend the psychological and moral implications of their fascination with each other, or why their almost written-in-the-stars depth of connection makes so much sense.
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