It’s a shame how the system has swallowed up Barry Jenkins in the decade since his revelatory, Oscar-winning breakthrough Moonlight. He’s directed only two films since then — the masterful (but underappreciated) James Baldwin adaptation If Beale Street Could Talk and the lifeless “live-action” Lion King prequel Mufasa. He was also the creative force behind the 10-episode version of Colson Whitehead’s instant-classic novel The Underground Railroad, another beautiful piece of art lost in the Amazon streaming seas. Jenkins — with his unique style that melds Wong Kar-wai, Claire Denis and Hype Williams — was poised to become the next big thing. Instead, he’s been stuck in the dual wastelands of IP and streaming services. After my first viewing of Moonlight at the Belcourt, I was ready to follow this guy anywhere. Mahershala Ali’s Best Supporting Actor-winning performance as the drug-dealing father figure Juan is rightly acclaimed (he’s able to convey so much with such small movements), but what Jenkins conjures out of the rest of the young, mostly inexperienced cast is just as special. The shock of Moonlight’s upset Best Picture win over La La Land (also excellent!) has overshadowed the film itself in the years since. Head to the Belcourt to soak in those purple-and-black Miami skies on the big screen if you haven’t gotten the chance. It screens as part of the theater’s ongoing Queer Qlassics series.
8 p.m. at the Belcourt
2102 Belcourt Ave.
