Their work contains moments of extreme violence and extreme tenderness (like the aforementioned swimming lesson) and are explorations of how people treat each other in real life. The topic of trust came up often in their conversation, with both directors agreeing that it was a crucial element in good filmmaking-trust in your crew and in your actors, but also trust in your audience to care enough to understand what a director is trying to communicate.MORE AT TIFF: Denzel Washington reflects on ‘gentle soul’ Chadwick Boseman Both Denis and Jenkins make movies that examine the way masculinity can corrupt men. Trusting someone that gives you the trust in yourself, that's so important,” she told Jenkins.
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“It means so much more than just learning how to swim-it’s learning how to live. “I’m only happy when I see a film that I like,” Denis told Jenkins, who went to see Tenet on opening day in Paris in order to fulfil a promise to Robert Pattinson, who starred in her 2018 TIFF premiere, High Life.But it’s Jenkins’ Oscar-winning film Moonlight that truly moves Denis, who came close to tears when the subject of the scene in which Mahershala Ali’s character, Juan, teaches Little (Alex R.
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The respect and admiration the two filmmakers have for each other was on full display this past Friday when TIFF hosted the pair for a long-distance In Conversation With event featuring the directors discussing their work, their influences, and the kinds of films that bring them joy during this extremely challenging period.
“And you sell drugs?” Juan is both Chiron’s saviour and the agent of his family’s decline.By his own admission, Moonlight and If Beale Street Could Talk director Barry Jenkins is a devoted student of French film icon Claire Denis.
“My mama does drugs?” Chiron says to Juan. There is a poisonous irony in the relationship. Juan and his equally concerned partner (Janelle Monáe) give the boy a meal and urge him towards the straight and narrow. In the first, “Little” (Alex Hibbert) encounters Juan (Mahershala Ali), a kindly drug dealer, when hiding from bullies. That character, who goes by three names, is played by three different actors in three discrete acts. As meticulous in his shots, clean in his colours and precise in his rhythms as Wong Kar Wai, Jenkins gives us a complex American hero to compare with Huckleberry Finn or Holden Caulfield. (Contrast that with this week's proudly stagey Fences). No traces of the film's origins in an unperformed play remain. As if that doesn’t sound sufficiently overworked, it is about the particular challenges that hard men encounter when they walk down mean streets.Ĭinema has been in and around this area time and time again, but Moonlight still feels abundantly fresh and endlessly imaginative. Barry Jenkins’s transcendent second feature is about the challenges boys encounter as they become men.
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