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This is not simply a coming-of-age story. The acting is superb throughout, with all three Chiron actors mastering a particularly tricky character, one who barely speaks and works (not always successfully) to keep his vulnerabilities hidden. (When Juan teaches Little to swim, the camera is set at the waterline where waves occasionally obscure our view.) Scenes of devastating beauty pair with those of matter-of-fact sadness. Jenkins employs intimate camerawork, immersing viewers in Chiron’s fraught spaces. Moonlight is a beautifully layered film filled with so much emotional content and lyricism. Things don’t improve much when Chiron (Ashton Sanders) is a teenager he’s still quiet, still bullied at school, still worried about being gay, and his home situation is even worse. Little nominally has one friend, the livelier Kevin, who tries to school Little to adapt to the rough-and-tumble ways of boys. Neglected by his mother (Naomie Harris), he finds a friend in Juan (Mahershala Ali), a drug dealer who, beneath his street-ready hardness, is sensitive to the boy’s need for nurturing.

Hibbert), a gangly toothpick of a kid, escaping bullies. The story is told in three acts, depicting the protagonist as a child, a teenager and an adult. The work is adapted from Tarell Alvin McCraney’s semi-autographical play In Moonlight Black Boys Look Blue, and incorporates material from Jenkins’ life (both men grew up in Liberty City).

Set in Miami’s tough Liberty City neighborhood, Barry Jenkins’ luminous, deeply affecting Moonlight tells the story of one boy’s journey into manhood and self-discovery.