****1/2 (Tour-de-force)

O.J.: Made in America is not a call to revolution. It is not a smear campaign or an overt attack on the LAPD or any other group; instead it is a deeply analytical, deeply felt portrait of one man in the United States, but that is all that Ezra Edelman needs to create this Rorschach test of a film. It is a tragedy, an elegy, and a document of the most exacting and inclusive scope. Perhaps it is unwise to define a film in such lofty terms, but O.J.: Made in America demands it by virtue of its vital length and its monumental subject matter.

The documentary’s success is all the more surprising because it arises from the ESPN 30 for 30 unit, which exclusively deals in sports documentaries. This is not to denigrate the series as a whole (I’ve seen few, if any of the other documentaries) but to illustrate the improbability of the film’s scope. O.J. Simpson, crucially, isn’t treated as a simple entry point for the movie’s larger observations on L.A. or even the entire nation; he is given equal weight as a larger-than-life figure, and Edelman presents the sometimes unbelievable events of his improbable life with the same soberness as the boiling racial tensions of the “real world”.

This dichotomy between Simpson’s life, as his football stardom propelled him to nationwide fame and his private life spiraled, and the continual struggle of the black community in Los Angeles is perhaps the true subject of the documentary. Edelman balances the two narratives with a keen sense of balance in both runtime and content. Moving back and forth just before the viewer registers just how much time has been spent on each part, the documentary fits an almost equivalent amount of information—and, even more importantly, context—in each corresponding section. In the first three parts, where the divide is much clearer, the intersection of O.J. and L.A. is rare (most notably in the bravura 1968 section, which juxtaposes the glory of O.J.’s Heisman year and corresponding media appearances with the anger and numerous assassinations outside the USC bubble), but by the time of his trial in the closing minutes of the third part, the line is erased.

The trial is undoubtedly the most publicized and exciting part of the documentary, and the documentary delves deeply into the multiple corrosive influences and mistakes that led to the infamous verdict. But O.J.: Made in America‘s status as a look into the two subjects is made even more clear in the surrounding timespans. From the impossibly important events, such as the Watts or Rodney King riots, to the almost irrelevant, like O.J.’s movie career or his wildly successful (and illuminating) representation of Hertz car rentals, Edelman incorporates them all, teasing out the inherent racial tensions and compromises that seemed to engulf practically everything that O.J. and L.A. did over nearly half a century. The documentary never feels static or removed from the present day for many reasons, but one less evident one is the use of new non-interview footage. Often taking the form of gliding helicopter shots over the Los Angeles Memorial Coliseum or of L.A. in general, they are used to link the stories of Simpson and Los Angeles together with no small amount of fluidity.

Without a narrator, the meat of O.J.: Made in America is the archival footage and interview that give the documentary life, and an overwhelming amount has assembled in service of a very clear thesis: to show how O.J., in some ways, is Los Angeles, embodying all of its contradictions and tensions between while covering it with a smiling facade. No aspect of O.J.’s life, and probably few of the most important events in Los Angeles, are left out, and it seems as if almost every key player (and many people on the periphery) have been convinced into appearing on camera. Footage from O.J.’s football career all the way to his current incarceration in Nevada—audaciously placed at the very beginning to throw away any illusions about his ultimate fate—is included, and not dissimilar to other narrative films it lends an added sense of poignancy to see Simpson age over the years as he walked further and further away from the light. Edelman follows him everywhere, even going down the rabbit hole of his wild living in Miami after the trial, and creates a truly human portrait of this at times mythical man, capturing his genuinely good qualities and laying them beside his irredeemable flaws, especially the extensive abuse that would lead up to the murder of his ex-wife, Nicole Brown. The lively talking heads aid this sense of humanity, giving multiple perspectives on both O.J. and Los Angeles, and Edelman purposefully chooses not to censor any of them, leading to often conflicting and even outright racist remarks (on occasion, the editing almost creates a verbal sparring match between two interviewees).

All of this is to say that O.J.: Made in America is not a revolution in terms of its craft, a quality almost undeniably for the better. By adopting this sober, straightforward approach, Edelman focuses on the most important aspect, the information, and uses it to highlight the flaws of American society as a whole. Only O.J., who was able to effectively move between black and white culture and won his trial in large part because of his exclusive status, could work as such a galvanizing conduit. And in this method of exposé, O.J.: Made in America is its own sort of revolution, incisive but never dogmatic.

***1/2 (Excellent)

The only true constant in Moonlight is its look. It is an odd sort of luminescence, bringing out the vibrancy of the subject while turning everything not in the immediate foreground into a impressionistic haze of blurred colors. The effect is definitely one of immediacy, but crucially, it is immediacy that belongs to all time periods: apart from some signposts in the form of cars, cell phones, and music, the setting of the film, Miami, doesn’t seem to change all that much. The background of run-down homes, barred windows, and an moonlit beach stay the same, while the people and their changes are highlighted in stunning detail.

The movie’s visual style mirrors Barry Jenkins’ approach towards his main character, Chiron. The story of Chiron’s growth during three decades in Miami, Moonlight functions less like a biography and more like a series of snapshots. Each section, denoted by the name Chiron goes by in each section (Little, Chiron, and Black, respectively), is set over a few consecutive days, and the events are at once the most consequential and yet seem like transitions to different stages of Chiron’s life. They are formative moments, in a sense, and they come together over the course of the film to gather a quiet, cumulative force that dazes the viewer, making them feel as lost yet as at home as Chiron does.

For the most part, Moonlight follows the two influences that come to define Chiron: his parent figures, particularly his junkie mother Paula (a by turns manipulative and broken Naomie Harris) and drug dealer Juan (Mahershala Ali, overwhelmingly compassionate), and his burgeoning identity as a gay black man. More than often, these are inextricably entwined. In the first scene, young Chiron, called Little in this segment (an almost mute yet expressive Alex Hibbert), runs past Juan while being chased by bullies. After this initial coincidence, the film’s moments arise out of unexpected developments in relationships already well established, as Chiron grows and learns more about the people around him.

But through other people, he learns about himself too. Though the moments that ultimately have the most impact on Chiron’s existence come invariably at the end of each chapter, the ones that affect him more on an emotional level come more towards the middle. For Little, there are many but none more inexplicably serene as when Juan teaches him to swim, holding him in an almost baptismal pose in the ocean. For Chiron as a teenager (a belligerent and remarkably self-contained Ashton Sanders) it is an encounter on the beach with Kevin, his lifelong friend, the sexual nature of which plays out entirely through hands moving through the sand. For Black (Trevante Rhodes, hulking but astonishingly sensitive), it is an extended conversation at the diner where Kevin (André Holland, immensely caring) now cooks, the two not having seen each other since the previous chapter. These moments are never announced, never spotlighted. But it is precisely because of this that they have such power; in contrast to other scenes (mostly involving Paula and a gang of bullies) that seem at times a bit overdetermined, harrowing as they are in the moment, these moments of serenity are as unadorned as they would be in life.

And it is this sense of life that makes Moonlight so dazzling. Though it has as much to say about masculinity as it does gay identity—Black, a drug dealer in Atlanta (before he goes back to visit Kevin in Miami) is almost a mirror image of his father figure Juan, complete with a grill—it is at heart the story of a boy who learns to become a man. But Jenkins never lets it fall into clichés, with his sketch-like approach, his luminous depiction of Miami, and most importantly of all, his grounding in Chiron. Despite, or perhaps because of, his representation of Chiron in three actors and three time periods, Moonlight is truly emotional and universal while remaining profoundly coded in the black experience. The final two shots both provide a conclusion and a continuation; at heart, we are all children in the waves of time.

****1/2 (Tour-de-force)

“The Heart of the World” is at once quite simple and inordinately complex, stymieing most sensible attempts to dissect it. A story laid out in broad terms but filled with the grand tradition that proceeds it, it is a behemoth of small stature. Guy Maddin dares to use just six minutes to not only lay out the cinematic condition, but to wrap it in a tale of love, revenge, and sacrifice that becomes universal.

At its core, “The Heart of the World” is fashioned after propaganda films, and thus its most important goal is to induce feeling. In the traditional propaganda films it is most inspired by, these are patriotic feelings, but Maddin manages to enlarge and deepen them, retaining the pride while adding a clear emotional core in the three individuals that never distracts from the world-altering consequences. The narrative is both simple and ludicrous enough to work—a love triangle that reaches its fever pitch just as the end of the world (via a literal heart attack) arrives, only to be interrupted by a capitalist—and Maddin recognizes and adapts to how narratively restricting six minutes is. But he also finds time to insert the beautifully bizarre: a phallic embalming machine, strange laboratories, an actor who tries to become Christ.

Of course, “The Heart of the World”‘s most stellar aspect is Maddin’s crazed visual sense, unleashing a barrage of close-ups that collapses cross-cutting in on itself. It is never incoherent, which only adds to the disorientation of the already strange images. And yet, this effect causes the viewer to have the most curious emotion: pride. Whether it be caused primarily by the formal mastery, the soaring and hyperkinetic score, or just the Soviet-inspired images, this sense of pride is among the most awe-inspiring feelings I’ve had watching a film; it appeals to the cinephile with its final exultation of “Kino”, but it also appeals to a primal thrill, an elemental fascination with the kind of purity of expression that Maddin uses here. “The Heart of the World” is a short for all humanity, beautiful, crazed, and breathless.