MV 4 Entertainment / Mystic Luxury Cinemas
Blog # November 7- ‘16
Written By Harold L Blank, Cinema co-Owner and Programmer of Film.
See below a letter from the DIRECTOR OF MOONLIGHT
Mystic Luxury Cinema TIDBITS…OUR admission prices are the lowest in CT for THE BOLSHOI BALLET, THE NATIONAL THEATRE LIVE and OUR EUROPEAN OPERAS….
ALL family films that have ADVANCE Premiers will be screened at a special family fun pricing of $7.90 for all seats…Next up is MOANA on November 22 at 7PM.
Other wonderful pricing opportunities are every AM before noon…ALL SEATS ARE $6.00…Everyday including Saturday and Sunday.
We continue to support local businesses as we serve Jonathon Edwards wine and recently added in BEER’D brews on tap.
We have some great films on screen in DOCTOR STRANGE, TROLLS for the entire family and we continue with A MAN CALLED OVE…and the critically acclaimed MOONLIGHT.
STARTING on Wednesday 23rd we will feature a new film from Disney as MOANA hits the big screen…the story of a feisty young girl out to save her island. In addition to MOANA, we will feature LOVING, another critically acclaimed film. See below a letter from the director of the film:
AN OPEN LETTER FROM Director Jeff Nichols
We use a photograph at the end of our film that was taken by Grey Villet for Life Magazine, and I believe it says so much about the story of Richard and Mildred Loving. When seeing it, you immediately recognize it is period, perhaps the 1950s or 1960s. You see a rough-hewn man lying in a delicate position, his head in the lap of a woman. He is white, she is black and they are laughing. It’s at once incongruous with what we typically associate with rural Southerners of that period and at the same time seems perfectly normal. Who could argue they don’t look happy? Who could argue they aren’t in love? That is really the point of Richard and Mildred’s story and ultimately the point our film hopes to convey.
Richard and Mildred Loving were married in June of 1958. As a result, authorities broke into their home, arrested them and sentenced them to a year in the state penitentiary. This sentence was suspended on the condition that they be exiled from the state of Virginia for a period of 25 years. Richard and Mildred would spend the next nine years fighting to get home.
In 2012, I was approached by Colin Firth, Ged Doherty and Nancy Buirski, three of the producers on our film. Nancy had made a documentary for HBO called The Loving Story. I hadn’t seen the documentary before they approached me and I hadn’t known of Richard and Mildred Loving. After watching their story unfold so beautifully in this documentary, I couldn’t help but wonder what took so long for me to learn about this part of our American history. Their case, Loving v. Virginia, went all the way to the Supreme Court, which in 1967 reaffirmed the very foundation of the right to marry. Their story is not only part of a landmark Civil Rights case that changed the trajectory of our nation, but in my view it is one of the greatest love stories in American history.
In all of my films, I try to attach my stories to a palpable emotion. It needs to be an emotion strong enough to make it through the gauntlet of writing, pre-production and editing so that by the time an audience sees it there is some resonance of that emotion. At the heart of this story is a sincere love that I find to be profound. I hope you see the film and I hope you recognize this feeling. It is the story of Richard and Mildred Loving and it is a story I think we are in desperate need of today.
Moonlight by writer/director Barry Jenkins
Moonlight arrives eight years after my first feature, Medicine For Melancholy. Eight years is a long time, longer than I ever imagined would pass between my first and next film. It is what it is, I’m fond of saying. And yet, two weeks from the film’s release, I struggle to answer the question I find myself fielding more often than others: what took so damn long?
The film, a coming of age story set against the backdrop of my hometown, Miami, Florida, is something of a fictionalized biography shared between myself and Tarell McCraney, the playwright upon whose work (In Moonlight Black Boys Look Blue) the film is based. The character Chiron, struggling to find himself in a world seemingly charged with dictating to him who he is, reminds me of myself and the time I spent doing everything but what I truly wanted to do — making this film!
I fell into filmmaking by happenstance. As an undergrad at Florida State University, I was an English Education major who’d become a Creative Writing Major who was entering a football game at Doak Campbell stadium when I saw a sign that said Film School. Prior to this, I’d had no inclination to study film and yet, there it was, the remainder of my life thrust upon me as a compromise by the board of regents (to justify the massive cost of renovating the football stadium, the university had to include an arts program in the build, hence the film school in a football stadium oddity).
I knew nothing about filmmaking; I literally did not know you needed light to expose film. At a time when films were still made on film, this was a hindrance. My peers in film school at this time were stellar (It Follows director David Robert Mitchell and Maze Runner director Wes Ball among them). For the first time in my life, I was faced with a question: am I floundering at this because I lack experience or because I’m black and poor and from a broken home? Engaging and dismantling that question with a dedicated passion for the art of filmmaking has been the most rewarding journey of my life.
But enough about me.
Moonlight is an immersive film. Or so I hope. Unlike most coming of age films, our story takes the form of a triptych — three episodes that explore the most pivotal moments in our protagonist’s quarter life. Rather than churn through decades of life as story, we observe Chiron in real-time — coming apart, coming together over the course of days and hours rather than years — a character being shaped before our eyes. In film, particularly when the work is personal, craft is a vessel for the voice. In Moonlight, Chiron’s voice is carried in the light and sounds of Miami, an audio-visual approach we sought to root in character rather than theme or story. When I think of this film and what it’s meant to me, I think most of that first semester of film school and how my voice was stifled by a lack of craft; I think proudly of the work these fifteen years since and the realization of my filmmaking voice as presented in Moonlight.
As I write this, I’m listening to Solange Knowles’ new album, A Seat At The Table, music that reminds me what a profound moment this is to be a black artist in America. Moonlight was influenced, willed, nourished, supported by the following: James Baldwin, Ta-Nehisi Coates, Clair Denis, Frank Ocean, Kendrick Lamar, Wong Kar Wai, Khalil Joseph, Charles Burnett, Hou Shiao Shien, Darius Clarke Monroe, Julie Dash, Spike Lee, Ryan Coogler, Justin Simien, Ava DuVernay, Bradford Young, Alex Jackson, Tahir Jetter, Terrance Nance, Dee Rees, Chop Stars, Michael Thomas… and far too many others to fully name here.
On Cranes In The Sky, Solange sings:
I tried to work it away
But that just made me even sadder
I tried to keep myself busy
I ran around in circles
Think I made myself dizzy
I slept it away, I sexed it away
I read it away
Away, Away, Away, Away, Away
I’m so thankful for the privilege of composing this letter. It’s further proof that I’m no longer away.
Coming soon: MOANA 11/23, LOVING 11/23, ROGUE ONE 12/16
SEE YOU AT THE MOVIES.