As far as sentiment goes, “Moonlight” may live with the unfortunate burden of being remembered as the film that caused great commotion at the 2017 Academy Awards. Its win for Best Picture marked a nudge for the Academy in a more artful, progressive direction. Barry Jenkins‘ enthralling, rich film shouldn’t be remembered for this one night alone. The picture produced enrapturing images that are haunting, reflexive, and cool in their hues.
READ MORE: The Essentials: The Films Of Wong Kar-Wai
Inspired by foreign filmmakers during his time at Florida State University, Jenkins’ “Moonlight” proclaims itself a different type of visual experience. In a video essay edited by Alessio Marinacci, images of “Moonlight” and the filmography of Wong Kar-wai intertwine and replicate feeling in their visual similarity. Set against the eerie orchestration of “Moonlight,” images taken by shaking cameras, medium shots, and stalking movements capture the essence and evocative nature both filmmakers possess. Even the bold, popping colors demonstrate the minutia of both filmmakers’ diegetic spaces. The details are absorbing and manifest an overwhelming feeling; very few films have created images like this.
Jenkins is a filmmaker inspired by the obscure. Cinematographer for “Moonlight” James Laxton takes the audience on a visual experience where what happens next in the story is as unexpected as what we see next on screen. The parallels between Kar-wai and Jenkins’ visual style is striking from camera movement to coloration, adding to audience immersion and overarching experience. The cinematography for “Moonlight” could have deviated from the abstract nature of the three-act film, showing audiences colors and images that were familiar. With a tactile eye, Jenkins relives his own truth, painting it in sweeping camera movements and explosive colors that only add to the story he is telling. While some may remember “Moonlight” as an Oscar upset, we’ll continue to revisit these images as validation for the film’s immeasurable worth.