Like Chiron in 2016’s Moonlight, a gay Black boy fleeing from his homophobic abusers into the confines of a crackhouse, or Fonny wanting to emigrate to Europe in 2018’s If Beale Street Could Talk, they can’t escape, physically or spiritually. Instead, his characters are Black men and women working to avoid the unavoidable racist volatility of their surroundings. No one would ever confuse Jenkins’ cinematic love letters with Michael Bay’s explosive action flicks, or a Marvel Cinematic Universe intergalactic battle, or a Judd Apatow comedy, or a Disney cartoon. So if you’re making a film and there’s not a quality to it that is a burning passion, a burning desire, then it’s not important.” Barry Jenkins once explained that his films are not escapist: “The world is on fire.
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