Look up Moonlight online, and youll be overwhelmed by what you find.
On Rotten Tomatoes, a website that aggregates movie reviews, Moonlight is in a three-way tiefor the highest rated cinema released in 2016, with a 98 percent acceptance rating. Its hard to imagine the immense critical praise being heaped on the cinema could be any more overwhelming, considering the few small number of negative reviews coming from places likeThe National Review .
The Philadelphia Inquirer called Moonlighta true American masterpiece and one of the best movies of the decade. The Miami Herald described it as Miamis first bonafide movie masterpiece. The Washington Post labeled it a perfect cinema. The Wall Street Journal ran with the term masterpiece an overused word, but not the incorrect one. The Toronto Star said it was an wholly fresh instance of the power that great movies can exert on our lives, and The Toronto Sun argued its so good it may restore your faith in cinema.
The New York Times A.O. Scott asked more simply, Is This the Years Best Movie ? And it only might be. The cinema already took home Best Motion Picture – Drama at the Golden Globes in January, and its up for eight awardsat the 89 th Academy Awards later this month Best Picture, Directing, Writing( Adapted Screenplay ), Cinematography, Music( Original Score ), Actor in a Supporting Role and Actress in a Supporting Role. Thats tied with Arrival for the second most nominations of this year, and merely trails the Academy-tailored L-Abased musical La La Land.
Critics love Moonlight, as does Hollywood. So why arent people insuring it?
The film had recently pulled in $20 millionsince it was widely released in November. Considering Moonlightwas attained for less than$ 5 million, that induces it a certifiable indie success story. But the cinema still ranks last of the seven movies from 2016with the highest ratings on Rotten Tomatoes. It induces sense that some of the other movies like Zootopia, La La Land, Arrival and The Jungle Book would out perform Moonlight many times over. But Casey Afflecks Manchester by the Sea has taken home $45 million so far, more than doubled Moonlight. The Western crime thriller Hell or High Water has taken home $27 million.
There are simple reasons that explain why people havent indicated more pronounced interest in insuring one of the most well-regarded movies in years. The cinema doesnt boast anything close to a bona fide movie star.Its not the kind of movie that persuades readers it must be seen in theaters, either. And its clear before you see it that the cinema will be difficult to watch.
Meager distribution is certainly to blamed, too. While Moonlight reached 1, 100 theaters on its best week, it has largely hovered somewhere between 400 -6 00 theaters since its broad release in late November, significantly less than that whichManchester by the Sea received. There are people out there that want to see Moonlight, and cant.
But many other movies that have fit these sorts of criteria have, nevertheless, performed better at the box office. One year before Moonlight, for example, the somber and highly rated Brooklyn made for $11 million pulled in $38 million domestically despite just a somewhat wider release.
Here is where it feelings necessary to address what Moonlight is about: a homosexual, black son named Chiron, born into extreme poverty in the projects of Miami.
Chirons world is a hopeless one. Small and shy, he has little to nothing to its implementation of structural support. His mom is addicted to crack cocaine. His father is nowhere to be found. At school, merely one other child reveals even the faintest of interest in him. On the style home, he is harassed or ignored. Inside his small disheveled apartment, he must fill the bathtub with water from the kitchen sink only to clean his body.
His mother, wrapped in the throes of drug addiction, has lost the capacity to love him. The only two people who seem to care about Chiron are a drug dealer and his girlfriend, who let him stay in their home when he has nowhere else to go. Sometimes, still embarrassed about himself, he sleeps on the train, or heads to the beach alone.
Chirons world is also one white Americans know exist, but have a tendency, whether conscious or subconscious, to try to avoid thinking about. It is uncomfortable, especially for wealthy white Americans, to admit that a son like Chiron is out there right now, in the richest country in the world, alone and scared.It is even more uncomfortable to grapple with the fact that a homosexual, black son could start life so far behind everybody else. It is sad, and hard, and so much easier to go consider Ryan Gosling and Emma Stone frolic in the hills of Los Angeles.
Just like Goslings Sebastian and Stones Mia, Chiron is fictional. But Chirons situation is not. Today, one in five childrenin the U.S. live in poverty. Among black children, that number is almost two in five. Those are shameful statistics. But far more shameful is our own willingness to ignore the ones who turn into them.
For people luck enough to be born into middle-class two-parent households on up, it will always be impossible to truly understand what its like to be hungry, or frightened to not have someone to turn to, or to laugh with.It will always be uncomfortable to realize how many of our countrys problems can have a single face in boys and girls like Chiron children born victims of homophobia, and racism, and bully, and poverty, and drug addiction, and under-funded public schools.
These children, especially lesbian children of colouring, are easy to forget about, because they live on the periphery of American society and culture. And the movies like Moonlight, which try to give them voice, are still so few and far between that they can feel foreign to white Americans unsure if theyll be able to relate.
But there is value in trying.
The news can construct you think about the world beyond you, but movies like Moonlightcan construct you feel it. Roger Ebert once said, Movies are the most powerful empathy machine in all the arts. When I go to a great movie I can live somebody elses life for a while. I can walk in somebody elses shoes. I can see what it feels like to be a member of a different gender, a different race, a different economic class, to live in a different time, to have a different belief.
With Moonlight, the empathy machine is kicked into overdrive. Chirons fear, his stillnes, his exhaustion, and his quiet need for help can teach us things the news cant. Moonlight is not a universal cinema, and thats the point: It transports you to a world, leaves you there, then brings you back changed a roaring engine of an empathy machine that lets you, if for a brief moment, consider the world through the eyes of someone other than yourself.
Through Chiron, director Barry Jenkins and his wondrous empathy machine whittle political ideas down to the tangible. Deliberations of Americas great ladder of opportunity seem trite compared to the impossible obstacles someone like Chiron must overcome only to survive in America, much less prosper. Chirons world is a hard one, lacking in the societal support necessary to overcome homophobia, racism, the war on drugs, and a depleted school system all at the same time. And still, you find, there is kindness in the world awaiting him, however small and rare.
When we go to the movies, there is an understandable desire to seek the escape made available through the La La Lands of the world fantastical moments of joy that temporarily let us forget ourselves. But let us also not forget that there are problems bigger than our own, which we must try and solve together for the children that will be born into the stillnes of tomorrow.
What stopped you from insuring Moonlight? Was it because you dont want to face, for two hours, what some children face for a lifetime?
Or even worse, was it because you dont care?
Read more: www.huffingtonpost.com