Support the Café

Search our Site

Faith Reels: Moonlight

Faith Reels: Moonlight

by Bonnie Anderson and Dan Webster


Stories are an important way for people to know each other, and in the story told in ‘Moonlight’ we are provided with dynamic visual embellishments and gifted actors and a director that bring this tough story about a tough life painfully alive.


For many viewers, this film will provide first-hand experience of an environment and life style with which we are completely unfamiliar. Although the plight of the impoverished in this country is often documented and publicized, there is still the opportunity for many of us to remain distanced from it. Not so in ‘Moonlight’.


The setting for the film is the Liberty City section of Miami where Director Barry Jenkins grew up. In a recent TV interview Jenkins said he never saw a white person until after high school.


When we first meet Chiron (first played by Alex Hibbert), who is a young black child, he is hiding from other kids bent on bullying him. He is skinny, quiet, reserved. We see his public housing home, his single mother (Naomie Harris) who struggles with drug addiction, his neighborhood, and the drug dealer Juan (Mahershala Ali). Juan kindly and authentically cares for Chiron, while effectively picking at our stereotypes, exemplifying the good we see in every person, and causing viewers to recognize the juxtaposition of his kindness to Chiron and his contribution to the distress that drugs bring into Chiron’s life.


We spend time with Chiron at various stages in his life. In three separate chapters in the film, “Little,” “Chiron,” and “Black”. We get to know him intimately. Like the centaur from Greek mythology with whom he shares his name, Chiron is unique. And, along with Chiron, we learn he is gay.


Chiron moves through his life, and we move right along with him. He moves from being a quiet, reserved, skinny kid to a quietly questioning and searching teenager (played by Ashton Sanders) to an aloof, shut down adult (played by Trevante Rhodes). The strengths of this film are many. Written by gay black playwright Tarell Alvin McCraney, we are given a purposeful film with language that is real, not trite.


Viewers are given the rare gift of intimacy and connection to a story, parts of which they may have heard, but did not know. This life story is one that resonates, in some unexplainable way, with the life of the viewer, who ultimately, like Chiron, in the most astonishing and grace-filled way, faces redemption, cautious hope and love.


And even a cautious joy that brings to mind that even at the grave we sing “Alleluia”


Bonnie Anderson is a very active lay leader in her parish, diocese and in the wider Episcopal Church. She is an experienced community organizer and lives in suburban Detroit. Dan Webster is an Episcopal priest in Baltimore, Maryland and a former broadcast news executive. But don’t expect only east coast urban perspectives here. As it turns out, they both grew up in Southern California.  They blog about films and faith at Faith Reels



Café Comments?

Our comment policy requires that you use your real first and last names and provide an email address (your email will not be published). Comments that use non-PG rated language, include personal attacks, that are not provable as fact or that we deem in any way to be counter to our mission of fostering respectful dialogue will not be posted.

1 Comment
Oldest Most Voted
Inline Feedbacks
View all comments
Philip B. Spivey

“For many viewers, this film will provide first-hand experience with an environment and life style with which we are completely unfamiliar.” I would hope that we were more familiar with the ravages of poverty and racism in black ghettos, but if this is an introduction to these realities for some, this film serves well.

The heart of the film chronicles the coming-of-age of a very-black-skinned youth, Chiron, (successively referred to as “Little”; “Chiron” and “Black” as he matures over the course of the film), is not only a victim of poverty, an absent father and a drug-addicted mother, he is also a victim of color prejudice and homophobia among his peers; Chiron has to navigate impossible waters—and yet he does so, with steely determination without losing his capacity to love himself and others. This is a triumph of the spirit!

This is not a “gay story” although one could reduce it to that. Rather, it’s a profound and intimate portrayal of what a man —any man—must endure without a socially privileged birth, skin color, class, and sexual orientation.

As the reviewers note, “this film is one that resonates” because Chiron is the ultimate “outsider”; Chiron is the outsider we all fear becoming. In the Trump era, this should have particular resonance.

Support the Café
Past Posts

The Episcopal Café seeks to be an independent voice, reporting and reflecting on the Episcopal Church and the Anglican tradition.  The Café is not a platform of advocacy, but it does aim to tell the story of the church from the perspective of Progressive Christianity.  Our collective sympathy, as the Café, lies with the project of widening the circle of inclusion within the church and empowering all the baptized for the role to which they have been called as followers of Christ.

The opinions expressed at the Café are those of individual contributors, and, unless otherwise noted, should not be interpreted as official statements of a parish, diocese or other organization. The art and articles that appear here remain the property of their creators.

All Content  © 2017 Episcopal Café