The semi-autobiographical bildungsroman films Moonlight and Boyhood, directed by Barry Jenkins and Richard Linklater, explore comparable themes through the use of cinematic and narrative techniques. Jenkins and Linklater present the two contrasting characters of Chiron (Trevante Rhoades), Mason (Ellar Coltrane), and their respective journeys through adolescence and manhood. Both films show a different view of the communities they portray, and thus, the segregation that is inherent to modern-day America. Jenkins portrays an impoverished Miami neighbourhood ghetto, while Linklater’s film is set in a middle class suburb of Texas. Jenkins uses symbols and motifs in his film to illustrate the struggle to find one’s identity and to highlight the importance of parental figures. Linklater on the other hand uses nostalgia, to examine individuality.
Jenkins and Linklater have used a range of different techniques to examine the relationships between the protagonists and their parents. Mason and Chiron both come from families that are broken with only one parent. Their lives have been characterized by chaos and conflict. Mason’s mom’s horrible judgment of men makes Mason feel like he’s in a “parade” of drunken a**holes. Chiron, on the other hand, has up to three parents at any given time: his drug addict mother Paula(Naomie Harris), as well as his surrogate parent Juan(Mahershala Ali), Teresa(Janelle Monae). Paula often becomes more of a rival to Chiron once she falls into a crack-addiction frenzy. She accuses Chiron of stealing cash to feed her crack addiction. Jenkins uses imagery and a variety of styles to illustrate Chiron’s strained relationship with his mum, along with his abnormal views on parents. Jenkins uses colour and low shots to reveal Chiron’s vulnerability before his crack-addicted mom. Jenkins achieves this through a flashback where he frames Paula in a shot high up as she screams and is illuminated with surreal pink-red light. Paula’s fury mixed with the intensity and passion of the colours pink and red represent the motherly love. Paula uses her dysfunctional but frail love of her son to essentially control Chiron’s emotions. Linklater also uses perspective to show the isolated moments from Mason’s childhood and convey the effect of Mason’s mother’s long-suffering, insecure lifestyle. Mason’s point of view is always different from his parents when it comes to important events like moving to a new home or going to college. Mason’s mom lives in a small apartment and is considering moving to a bigger and better space. Mason’s view of the situation is different from his mother’s. Mason feels that leaving behind his family and his usual routine will be difficult. Mason shares his perspective with his mother when leaving for college. Mason’s mother has a different perspective. While Mason is very excited and ready to go to college, she is struggling and tells her that this is the worst time of his life. Jenkins’ perspective is a way to relate with audience members, as it shows how hard it is on a mother when their child leaves for college. Jenkins uses motifs in order to show how Chiron is guided by his surrogate fathers, who are able to offer guidance that Mason’s mother cannot. Mason Sr. is an example of a man who, although society may consider “irresponsible,” proves that he’s a great father. He is there during the divorce to learn more about Mason and his true character. He talks with Mason, pays him frequent visits, and even brings up the difficult subject of sex. Linklater uses the standard two-shot technique to focus on the conversation between Mason and father. He shows how this relationship fosters a sense stability and trust. Jenkins also uses food as a way to bond Chiron with his surrogate parent. Chiron is unable to communicate verbally or emotionally. Teresa and Juan entice Chiron by using food. As he struggles to discover his true self, they are able gain his trust.
Jenkins and Linklater explore identity themes through dialogue, narrative structure and music. Jenkins splits Moonlight up into three distinct stages, “Little”,”Chiron”and “Black”, showing Chiron’s radical change from being “Little”, to becoming “Black”. Linklater, on the other hand, depicts a 6-year-old boy’s development over a period of 12 years. This gives a sense of realisation and time passing. Jenkins’ use of titles such as Little, Chiron, or Black is to illustrate different stages in the life of a man. However, the chapter structure he uses suggests that Little, Chiron, or Black could all be viewed as distinct characters, rather than the same person, because of their immense changes and growth throughout the story. By using this concept, the audience can see how Chiron’s quest to discover his real identity has broken his journey, both literally as well as figuratively. Moonlight uses water to symbolize acceptance of an identity. Jenkins demonstrates how intimate water can be during vulnerable moments. For example, when Chiron is bathing or icing his face, and when Kevin has their first sexual experience. Jenkins uses water to symbolise and correlate Chiron’s true self in vulnerable moments. Moonlight uses dialogue in different ways to explain the development and identity of its protagonists. Both films immerse their audiences in the story through a sense that they are familiar and real. Linklater uses music and dialogues to give the audience a unique and real experience. Linklater creates a nostalgic feeling as if Mason’s childhood is being filtered by a memory.
Linklater creates a sense of nostalgia by using music to represent Mason’s age. Mason, who is a young boy, is vandalizing a subway underpass when hard rock music plays to show his youth. The song reminds the audience how he felt as a child. As he grows older, family songs on summer nights promote a feeling that is united, which shows Mason’s development. Jenkins, in Moonlight, consistently leaves key dialogue out between the 3 stages in Chiron’s journey. In turn, this raises the issue of whether Chiron can control his identity, or if it is something he inherits from those that have an influence on him. Jenkins conveys his idea by focusing on Chiron’s transformation and growth into a character resembling Juan, Chiron’s surrogate. Kevin pokes fun at this transformation and asks Chiron “Who are you?” as well as whether he has become “harder now”. From his dress to his car’s ornament, Chiron is the embodiment of Juan, his surrogate. Jenkins has made a deliberate choice in this regard, leaving the audience wondering about Chiron’s tragic tale of self denial. Mason’s Mother mentions the “series milestones” that Mason has reached, such as “the time when we thought you had dyslexia” and “the first time you learned to ride your bike”. This dialogue was deliberately chosen to show how Linklater’s film is resonating with audiences because it includes unseen situations.
Jenkins and Linklater, through the use of setting, symbolism, foreshadowing as well as establishing images, explore the contrast between Liberty City, Texas and suburban middle-class Texas. They reveal the segregation present in America’s modern age. Mason and Chiron are two very different stories. Jenkins and Linklater both use setting to illustrate the differences in lifestyles between Chiron (who lives in Miami’s impoverished crack cocaine ghetto) and Mason (who lives as an average white American boy living in the middle class suburbs of Texas). Moonlight shares the same similarity as Boyhood in that the protagonists come from broken homes. Their stories, when taken together, represent two different sides to America, and the segregation that it brings. Moonlight and Boyhood show two totally different Americas in the opening moments of both films. Jenkins and Linklater make use of establishing shots that foreshadow the fact that Chiron and Mason live their lives based on cultural norms. Moonlight begins in an unassuming residential neighbourhood with a car parked and a drug sale unfolding. Jenkins uses an omnidirectional camera to depict the claustrophobic atmosphere of Liberty City’s ghetto. It also establishes the influence it has on Moonlight characters, including Chiron. Jenkins deliberately chose to start the scene with Chiron’s tough environment, which is a crucial part of his development as “Black”.
Linklater’s use in Boyhood’s opening scene, of Coldplay song “yellow”, accompanied by vibrant colors, shows Mason’s seemingly carefree life, looking up at the sky. Chiron’s ghetto life in Liberty City is virtually unknown to Mason. Mason, who is from the suburbs of Texas, has the luxury to choose the path he takes in life. He decides what he’ll do and which college he’ll attend. And he can be anything he desires. Mason is surrounded with friends who are proud of his individuality and celebrate it, unlike Chiron. Chiron is limited by the expectations of his society in Liberty City, which are to conceal his true identity in order to fit into the hardened black man role. His role models are his drug-dealing surrogate dad and his crack addict mother. While his fate may not be as predetermined as Mason, it’s clear that he will either become the victim of or the aggressor in crime.
Barry Jenkins’ Moonlight and Richard Linklater’s Boyhood effectively captured the distinct journeys Mason (from adolescence) and Chiron (from manhood). The directors of both films explored similar themes through the use of cinematic tools such as dialogues, nostalgia, motifs and colour. They also used narrative structures and techniques to create a story. Jenkins used motifs, symbols, and narrative structure to explore these themes. Linklater, on the other hand, relied heavily on dialogue to convey the story of Mason and to evoke nostalgia.
