There comes a time when you have to defend your sexuality and identity. In Barry Jenkins' film Moonlight, Chiron, the main character, is introduced through the three phases of his life as a gay African-American male living in Liberty City, Miami, Florida. We are introduced to young Chiron, nicknamed “Little,” who runs away from a group of bullies and eventually hides out in a drug house. This openness signals the difficulties he faces with his sexuality and identity, but Juan, a nearby drug dealer with his girlfriend Theresa, offers guidance and support as a father figure. The next chapter features Chiron as a high school teenager who juggles avoiding school bully Terrel, spending time with Theresa, his mother's growing drug addiction and prostitution, all the while exploring his own sexuality and identity with Kevin. Finally, an adult Chiron, known as "Black", becomes a drug dealer in Atlanta after reform school for assaulting Terrel. He seems financially well-off but dissatisfied until he meets Kevin at his restaurant, then goes to his apartment and embraces an intimate queer relationship. While the plot proves to be a solid foundation, the cinematography is what really makes the film stand out, winning an Oscar for Best Picture. Rather than employing a realistic documentary style, Moonlight is filled with visual design elements such as contrast, color, camera angles, lighting, and slow motion that immerse the audience in a dreamlike environment. Furthermore, the use of realistic Miami costumes, props, motifs and settings allows viewers to make connections between scenes and grasp the feeling of authenticity. While these visual design elements can be found primarily in four essential scenes: Juan bringing Little home, the crashing of the waves, Paula scolding Little, and the restaurant scene, they are also used in the film to allow the audience to make connections and you get an authentic feel. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay One of Moonlight's main visual design elements is contrast. Contrast is the difference in luminance or color that makes an object or its representation distinguishable in an image or display. Only one light source, such as the Miami sun, was used throughout the film, with no fill light. As a result, this created a visually aggressive contrast particularly visible in the characters' faces as the light falls into the shadow. When Juan brings Little home and talks to Paula, the shot shows Juan against a backdrop of tropical palm trees. Juan's skin tone appears distinctive as the mid tones are eliminated and blue is added to the blacks, creating a denser color. Additionally, this scene depicts Juan with a rag, diamond earrings, gold browbands, and a dash crown. These costumes and props are significant because they define Juan's masculinity and toughness as a drug dealer. In the third chapter, when Chiron takes on Juan's role as a drug dealer while also embracing his gay relationship with Kevin, Jenkins reconciles the fact that queerness and masculinity can and do coexist. In the crashing scene, Juan teaches Little how to swim. As Juan motions for him to join, the camera stays with Chiron, holding him close, pushing him as he decides what to do. Subtle camera movements show Little's desire to join Juan but he hesitates, afraid of making himself vulnerable. Once in the water, Juan restrained Chiron, keeping him afloat until he could do so on his own against the crashing waves..