In a recent interview in the Spanish press, Maysaloun Hamoud sighs with exasperation – “Why would anybody think the characters, who are out partying and having a good time, are trying to escape -just because they drink and take drugs”. She protests. “The protagonists are young, that’s life, life in Tel Aviv.”
you follow a trace of footprints
smudged ash-green, but they disappear
There really couldn’t be any simpler film than Moonlight – a young man named Chiron comes of age in a poor section of Miami. Yet, to signal just how perceptive and multilayered this film will be, director Barry Jenkins opens with a power move: an extended long take in which the camera never sits still, circling the actors like an anxious lion. It’s an amazing display of bravura directing, made even more potent when echoed later in the film at a crucial plot point. But it’s also Jenkins’s wake-up clap to the audience. For despite the film’s low-key tone, aided by such impressive, just downright beautiful camerawork, Moonlight is a revelation of nuanced characters and plot and exposition.
We, Pooch and I, for those few moments, lived in two different temporal worlds; I was not just astounded by his speed, I was deeply disoriented, so much so that at first I felt no pain. At first.
When you were fourteen your bones
sprang from your body like knives