Written by Spencer Stutman for Robin E. Feenstra’s Coming of Age Fiction course

Nature, in many ways, can be the strongest reflection of self throughout one’s life. Through the trauma, the joys, the lessons, and the often-unexplainable grief of childhood, it is the natural world which surrounds us that continues to raise us, even if we do not fully realize it. The film Moonlight (Barry Jenkins, 2016) reflects this importance of the natural world which witnesses our lives through the journey of the protagonist, Chiron, from youth to adulthood. The countless displays of nature reflect the individual scenes of his life as he travels through the distinct identities of Little, Chiron, and Black. These paths of numerous titles and names tug at the search for identity which Chiron comes to discover throughout the film. 

Every part of Chiron’s senses leads him to a place of either intense struggle or safety. The viewer witnesses the harshest parts of his life in the scenes that feature Chiron trapped inside his school, a place that is too bright, far from nature, and where he is seen as too soft. The mood and tone then shifts within Chiron’s home, a place that is too dark, too empty, and often too quiet, which equally represents this intense lack of safety. These indoor spaces are deeply enclosed and surround Chiron with people who refuse to accept him, and this sentiment lingers over the course of the film. It is for this reason that the scenes within nature seem to stand out as Chiron’s safe space. Acting as a retreat and as a memory of those who swore to protect him, such as his mentor Juan, the beach and outdoor spaces under the moonlight are recurring throughout Chiron’s life. They accept him as soft with no judgment. They accept him as queer with no expectations. These places accept a version of Chiron that very few get to experience; one where he is protected, free, open, and truthful.

In many ways, these outdoor spaces represent distinct characters with key roles. But it is often the welcoming atmosphere of nature alongside the mentorship, guidance, and love of certain people that fully complete Chiron’s path over the course of each section. In “Little,” Juan acts as Chiron’s link to safety. He is a figure to lean on, to rely on, and to learn from. Juan takes the time to answer Chiron’s questions with care and honesty, effectively offering a stronger link within both of their understandings of identity. The continuous messages that Juan shares relating to the discovery of self as an act of individuality is one that is presented often, cementing itself as a reminder throughout the film. 

Every moment under the moonlight, at the beach, and with the sound of the waves and breeze serves as an internal message for Chiron to come back to himself. The conclusion, with “Black” in the forefront of his identity, acts as the result of what being “Chiron” was like all throughout high school. There was a loss in the middle that bled into the final moments of the film and, through this loss, Chiron found Kevin and his mother, once again. In finding that space for love and safety, Chiron was pulled in by the beach and found the space to breathe fully. These last moments of truth and admission of identity provide Chiron with a space where he can decide what his name means, what his sexuality means, and what “self” means. Because for the longest time, it felt as though that discovery was possible in the moonlight.

works cited

Moonlight. Directed by Barry Jenkins, performances by Mahershala Ali, Trevonte Rhodes, Ashton Sanders, Naomie Harris, Janelle Monàe, André Holland, Jharrel Jerome, and Alex R. Hibbert. A24, 2016.