Moonlight Movie just expsoes homosexual darkness and sin
We live in a world built on simple oppositions: male or female; gay or straight; black or white. Cultural norms want us to fit easily into these categories because they are easier to understand, and often, oppress. (Not cultural but biblical)
In the world of Moonlight’s protagonist Chiron, being anything other than hypermasculine is downright dangerous: Being black and gay is unthinkable. But the truth is that life is more complicated, more confusing. Moonlight shows us that you can be a drug dealer and a father figure. That a film can be about domestic abuse and also be operatic. And as far as being African American and queer, director Barry Jenkins’ story shows us that it is possible, beautiful even, to be both.
The fact that such a film, which so poetically complicates notions of gender, sexuality, and race, received public recognition is deeply significant. As scriptwriter Tarell Alvin McCraney said in his acceptance speech, Moonlight was made for “black and brown boys and girls and gender-nonconforming … who don’t see themselves … we’re trying show you, you and us … this is for you.”
The fact that such a film, which so poetically complicates notions of gender, sexuality, and race, received public recognition is deeply significant. As scriptwriter Tarell Alvin McCraney said in his acceptance speech, Moonlight was made for “black and brown boys and girls and gender-nonconforming … who don’t see themselves … we’re trying show you, you and us … this is for you.”
That such a film, made explicitly for young people struggling to reconcile seemingly opposing identities, received the biggest honor in Hollywood is an incredible confirmation of the importance of such stories, a recognition that these identities exist and are worthy of acknowledgment.
