The fleeting moon evokes thoughts of alienation and sadness alongside the traditional ideas of love and awe. These contrary notions are upfront in Barry Jenkins’ glaringly excellent film, Moonlight.

The story is original to acclaimed playwright, Tarell Alvin McCraney, and is presented as such; a series of three acts each representing a period in Chiron’s life. Moonlight’s essence is found in the conclusion of all these acts. The rest of the film carries us to these moments of raw emotion that are difficult to move on from. It is a slightly frustrating yet brilliant tactic by Jenkins. But, in fairness, Chiron had to fight through these defining moments as they happened. These abrupt breaks allow contemplation of the emotional weight the film bears.

Juan (Ali), responsible for Chiron’s need for guidance while providing the guidance he needs, grabs hold of many affecting scenes in the film and conveys this duality effortlessly. Chiron (Hibbert, Sanders and Rhodes) has our hearts throughout and Paula (Harris), our pity.

The movie is wonderfully set against the colors of Miami and engagingly filmed. Moonlight gravitates to the welcoming glow of The Film Clas elite, beaming with 4.93 incandescent napkins out of 5.