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Barry Jenkins take the love stories in the film's spotlight

Brussels is Europe's most boring city. It was Barry Jenkins told when he was looking for the ideal place to write the screenplay. So one summer day in 2013 went to the american film-maker over the Atlantic ocean with the objective to revise the James Baldwins book ”If Beale Street could talk.” But instead, he put oscar winner ”Moonlight” (2016) to the world, in two weeks.

" When I was done with the ”Moonlight”, I needed a new energy as I train to Berlin, and wrote, ”If Beale street could talk,” says the pleasant charmknutten in a hotel suite overlooking Central Park south, where the characteristic hästdroskorna are lined up in a row.

”Moonlight”, which became a pioneering megasuccé and won, after the historic fadäsen, an Oscar for best film. Expectations to follow up bravaden could seem enormous, but the script was already written and self-empowerment on top.

– most of The aesthetic choices for the ”Moonlight” came out of the skräckkänslor. With ”If Beale Street could talk,” could I rely more on my instincts. I'm a guy who adores James Baldwin, so the fear came more from there. Who am I to interpret his book? It is clearly much more fun to make something from the trust than fear, " says Jenkins, who is oscar nominated for his screenplay.

in the ”If Beale street could talk” is the love story between Tish and Fonny in 1970's Harlem and based on the samhällsdebattören and author James Baldwin, who stood in the focus of the documentary ”I am not your negro” (2016). In the book he shares a punch to the face against the american justice system when Fonny is arrested for a crime he did not commit. A the fate of young african american men, then as now, often meet.

" It's not really my favorite book of Baldwin. But I was touched by the various sides in his voice. On the one hand, romanticism. On the other hand, the injustice of how society treats black people in the united states.

In the introduction to the film caught rashatets essence in the sense of ”every black person in America was born on Beale Street” and adds itself as a greasy film to the last box. The title refers to both a street in April place of birth Memphis, and W. C. Handys song ”Beale Street blues” from 1917.

I take it as a compliment if people think I am gay after ”Moonlight”

In the film is also the family as a foundation. But it was not the Jenkins mainly was drawn to, it was the woman's perspective.

" I'm not really a brave person. It was equally daunting to portray a gaykille in ”Moonlight” as a woman in the ”Beale street”. But what does it say about me if I can't connect because of my gender or my sexuality? I take it as a compliment if people think I am gay. But really, it is unnecessary for we all are one and the same way, if we look properly.

Barry Jenkins was awarded an Oscar for ”Moonlight” in 2017. Photo:

as well As in Jenkins's debut film ”Medicine for melancholy” (2008) and in the ”Moonlight” is love the cornerstone of ”If Beale street could talk”, which is reinforced by Nicholas Britells hudlösa and oscar nominated score for the film. It is also a kind of love letter to Harlem and färgskalans infinity. From guldhöstlöv to lyrical apartments and skumblåa the New York streets.

" My cinematographer James Laxton also understand how to shoot black people. The nuances, subtiliteten and the almost political effect it will have. I am driven, really, most of the Wong Kar-wai films as ”In the mood for love” and ”Chungking express”. But also by Claire Denis and Jean-Luc Godard. There is something honest in the way they visually tell a story. I was also a big fan of Lukas Moodysson when I went to film school. A bold filmmakers.

I was also a big fan of Lukas Moodysson when I went to film school. A bold filmmakers.

It älskogskranka the couple played by KiKi Layne and Stephan James, and for her role as the devoted mother won the Regina King a Golden Globe and is favorittippad before the Oscars.

– In any way, I wanted to create a sense of family with all the actors. The most important thing was to convey the Baldwins words with finesse. The chemistry between KiKi and Stephan could almost take on. Regina King stands for the film's strength while she is wearing on everyone's vulnerability, " says Jenkins and put your elbows in the table.

and ”Moonlight” have Jenkins have written a new chapter for afroamerikaners cinematography. Along with including Jordan Peele (”Get out”) and Ryan Coogler (”Black panther” comes the stories of black, of black filmmakers, increasingly presented in the broad fiilmens spotlight.

" I want to give the audience kredd for it, I think people are hungry for something new. We have come to a time in film history where most things have been narrated, on the one hand or the other way. Now we have new perspective, new classes, and the filmmakers find their own voices. Such as Spike Lee, Ryan Coogler and Ava DuVernay have not only gone through the door and made their. Not only have they demanded possibilities, but also ensured that others get them. They send down the elevator again.

Jenkins says that it also depends on the current access to movies.

Take, for example, the mexican film ”Roma”. With the exception of the east and west coast would such a movie never go up on bio in the united states, but now, people can see it on Netflix, " says Jenkins, who recently won the award for best screenplay at the National Board of Review.

In his acceptance speech, he gave a hard swipe to the president Trump and his obsession of the walls.

" of course, it is paradoxical and surprising that more stories of a minority group reaches a jättepublik. For it seems that the world is moving in the opposite direction. Everywhere. Societies and governments seem to shrink and go back in time. But it just shows how relevant and necessary film is today.

Read more: Review of the Oscar ”Moonlight”

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