Moonlight — Matt Taylor
When it comes to reflecting on a decade in art, one of the most exciting things to do is consider the exciting new voices who emerged over the past ten years—some of whom will (hopefully) continue to entertain us for years to come. One of the most exciting voices to emerge from the 2010s is unquestionably Barry Jenkins. His first film (Medicine for Melancholy) has its fans, and his third film (If Beale Street Could Talk) is a beautiful adaptation of James Baldwin’s novel. But when you consider Moonlight, his sophomore feature, you realize just how exciting a directorial voice he is. Because Moonlight just isn’t your average sophomore effort—it’s an incredibly accomplished piece of filmmaking that stands out as the definitive queer movie of the 2010s.
Gorgeously filmed, well-acted, and overflowing with empathy, Moonlight feels like a vital peek into the black American experience, exploring issues of masculinity in a way that’s harsh but consistently compelling. Its three act structure helps it remain one of the best screenplays of the decade, seamlessly evolving from an upsetting glimpse at a troubled childhood into a brutal coming-of-age story before ultimately ending as a bittersweet tale of hope. Its final scenes are dripping with such suspense and subtle eroticism, and its final line is an absolute showstopper. This is singular filmmaking. Jenkins could never direct another movie again and will still always be able to drop the mic by having directed this movie. But, lucky for us, we’ll get to watch more of his movies for years to come.
