#dramaticfilm

I am so excited to announce that I am in development for my short film, "Let It Breathe," an original screenplay by yours truly!

The creation of this script started back during my time at Florida State and has since grown into a story I am proud to share. I have worked closely with friends and professionals out here in Los Angeles to shape this story into the strongest version of itself and I'm eager to take the next step with its development.

In order to bring this film to life, I will need help. If you could take the time to donate to our GoFundMe or even repost this to your page for the next person to see I would deeply appreciate it!

To the kids who grew up afraid to talk back, speak up, and defend themselves, this is for you. This is our moment to experience autonomy and expression without shame.

Manchester by the Sea, a beautiful piece, written and directed by Kenneth Lonergan, stars Casey Affleck as a grieving brother who is tasked with taking care of his newly-orphaned nephew. Affleck stars as Lee Chandler, a Boston janitor who has to leave town in order to clean up the mess of his brother’s death, and confront his own personal turmoil from his past. The film is a rumination on grief, its effect on the people around us, and how we find ourselves dealing with pain.

Lonergan crafts a script of incredible prowess and charm. Of all movies centered on grief, this is by far the funniest. His ability to weave in a lighthearted air of wit whilst dealing with the heavy and dramatic topics brings the story to a new level of prestige and effectiveness. By creating this contrast, the story seems real and natural, and makes the darker moments even more resonant. This film was awarded the Oscar for Best Original Screenplay this year, and was well-deserved.

The performances at the center of the film propel the movie to better height. The newly minted Oscar winner, Affleck, is mesmerizing as his character Lee Chandler who balances an underlying grief, that only bubbles up in the worst moments. When the camera fixates on him, you can see the facade begin to break, and witness the pain swirling within. His ability to simultaneously show grief while also being cold in his delivery, is intriguing to watch. Lucas Hedges, who plays the nephew Patrick Chandler, is hilarious and riveting. In what one would think might be the saddest of roles to play, Hedges delivers a character full of wit and humor as a kid trying to cope with the death of his father. The power in his performance lies in how he copes with grief. As anxiety continues, you can see the facade begin to slip and the jokes drop second to none. The performances are examples of facades breaking; how grief can strip down even the strongest and toughest people.

Kenneth Lonergan has created a film that defies the odds about what a movie centered around death can do. It pushes past the simple boundaries of melancholy and melodramatic so often found in Hollywood drama films. He creates a naturally empathetic film; it’s almost guaranteed that any viewer could connect to this piece of art. While it may not be as flashy as other films out there with soaring scores, visual effects, or crazy cinematography, Manchester by the Sea establishes itself as a work of sheer artistry, and is powerful in its dual simplicity and emotional resonance. Grief is one of the toughest things humans deal with in life, and can change the way we function as people. Witnessing that fact and connecting to that shared feeling is what makes Manchester as beautiful as it is intense.   

Moonlight. The new winner of the Academy Award for Best Picture. The little film that could. I’m excited to release this review on the day after their historic win. This movie, and it's Oscar glory, is a testament to filmmaking of the future, what audiences want to see, and the diverse stories that deserve (and should) be told. It now holds the record for the lowest budget film ever to win an Academy Award for Best Picture, and is not only the first Best Picture win in history to include an all African-American cast, but is also the first LGBTQ movie to ever win. Which, in retrospect, is an insane thought that this hasn't happened until now. It walked away with two other Academy Awards, winning for Best Supporting Actor (Mahershala Ali), and Best Adapted Screenplay (Tarell Alvin McCraney and Barry Jenkins). While it didn’t sweep the Oscars like “La La Land”, it signified itself as a cultural milestone, and has now made history as one of the greats. This is a movie that got it’s rightful due, and will be celebrated for years to come.

Photo by David Bornfriend (Alex Hibbert)

Now to give the movie the review it deserves, let the deep-dive begin.

Moonlight was a movie I looked forward to throughout the heavy awards season; it grabbed my interest and called to me as a film eager to push boundaries and step outside the box. Little did I know I would be so incredibly floored and impressed by its presence following its release. After much anticipation, I was able to see it in Seattle in January. Sitting in the theater, I was so taken aback by its level of detail and commitment to the story at hand. Barry Jenkins has an innate ability to capture beauty on film; not only in his script, but out of all of his lovely and fresh faced actors. Each one of them shined brilliantly, and fulfilled parts that were real, genuine human beings struggling with the world they were forced to grow up in. Drawing from his own personal experience, and similarity with his fellow writer McCraney, Jenkins directing exhibits flawless vision, and allows the story to shine through every facet of his film. His commandment of actors, and his skill of making the three who played Chiron (Alex Hibbert, Ashton Sanders, and Trevante Rhodes) all seem similar without watching one another during filming, is a testament to the power of an incredible director (and just as amazing actors). Each actor brings such gravitas to their role, and the audience gets to view their soul through their eyes as each actor brings such natural capability. Many props must go to Rhodes, who turns what could be an over the top and uncomfortable performance in the hands of another actor, and instead turns it into a captivating, enriching, and absolutely eye catching piece of art.

Photo by David Bornfriend (Mahershala Ali & Alex Hibbert)

Unlike the flashier films of the Oscar season, this was a film about the quiet moments, the emotions unreachable through voice. The play it was based off of by McCraney, titled “In Moonlight Black Boys Look Blue”, and Jenkins subsequent script adaptation of it, relies on the beauty of silence in characters, not dialogue heavy scenes that drive the story. They focus on raw emotion, and Jenkins eagle-eye focus on capturing actors contemplating, processing, and receiving emotions from others is spellbinding and mesmerizing all at once. It forces the audience to pay attention; the urge to feel uncomfortable is there, but the want to understand and experience others truth is captivating enough to keep even the flightiest viewer hooked.

From a brutal, all-encompassing score by the lovely Nicholas Britell, to the breathtaking dedication of James Laxton’s cinematography, Moonlight fires on all cylinders. This film carries no missing link, and is a true and unadulterated glimpse into the power of artistry. The score is vibrant and moving, and helps the audience feel the nature of Chiron’s life throughout the story. It makes the viewer feel the uncomfortable moments and the unknown future for Chiron through music, and transcends into a being all on its own. The cinematography does the same. In my opinion, Laxton’s cinematography is tied at the same level as this year's Oscar winner, Linus Sandgren (La La Land). To echo the title the movie was based on, every single shot and color in this film showcased the blues, violet, and purple that comes from moonlight itself, and defines the character's metamorphosis from small, innocent Little, to the hardened and hurt Black. No shot is unneeded, and Laxton masterfully creates Chiron’s world right in front of the viewer. This movie is in its truest and best form; its simplicity, restraint, and style encompass everything one needs to create new and refreshing art.

Photo by David Bornfriend (Mahershala Ali & Barry Jenkins)

Moonlight is profoundly touching, and one of the most memorable movies in most recent years. It’s leaps and bounds ahead of the indie art scene, and is a true example of the underdog story; an indie movie with little money that made it to the top of the pack and showed the world its power. The film is right in the middle of the tipping point in modern cinema. It’s a representation of the very bright future of filmmaking, not focused on self-loathing pictures, and Oscar bait movie plots. It represents the (hopeful) end to certain stereotypical Academy Award movies of the past, drab movies that check all the boxes for an Oscar hopeful. The world wants to see more diversity, inclusion, rejuvenation, and truer art in the film industry. Like Juan says to Little, as he’s teaching him to conquer his fear of not only water but the outside world, “Relax. I got you. I promise. I won't let you go . . . Right there. You in the middle of the world”.

We got you, Moonlight, and you got us.

You’ve paved the way, and the future of filmmaking is now.