Winter is coming. And this year, it belongs to Hollywood power player Barry Jenkins

As a cinephile who has been following Barry Jenkins’ career with great interest, I must say that his journey is nothing short of inspiring. From his humble beginnings to the Oscar-winning director he is today, Jenkins’ life story is a testament to the power of passion, perseverance, and creativity.

The young lad was smartly attired, sporting a suit of a vibrant orange-brown hue. Despite this, his radiant grin betrayed none of the struggles he endured living in Liberty City’s challenging environment in Miami.

Looking at the snapshot of my younger self saved on my phone, I can’t help but feel a sense of calm, as if I’m gazing upon a carefree version of myself. It appears to be around Easter, and I’d have been about six years old. Growing up under the circumstances I did was anything but easy. But in that photograph, there’s an undeniable happiness and radiance that seems to shine from within. That little boy, blissfully unaware of the challenges he’d face or was already going through, exudes a joy that still touches me today.

It’s quite possible that he had no inkling at the moment that photo was snapped about what his future would bring – a surprise turn as both co-writer and director of a modest, yet impactful coming-of-age drama. The movie, “Moonlight,” went on to win the 2017 Academy Award for Best Picture, propelling him into the spotlight and securing him recognition as one of his generation’s most imaginative filmmakers. He received nominations for Best Director and an Adapted Screenplay Oscar (shared with Tarell Alvin McCraney), cementing his status in the industry.

Eight years later, that image carries a profound resonance for the filmmaker, who will simultaneously release two highly-anticipated studio films next month – productions with no thematic links except their prominence.

Jenkins stated, “I don’t think that young lad ever envisioned himself in this particular situation.” (Shaking his head.)

Winter is coming. And it belongs to Barry Jenkins.

On December 20th, “Mufasa: The Lion King,” the latest project by director Jenkins, will be premiered. This is a much-awaited, photo-realistic sequel to the 2019 hit movie “The Lion King.

On December 25th, after “Mufasa”, comes “The Fire Inside”, a film focusing on Claressa Shields, the historic first female boxer to win an Olympic gold medal. Jenkins, who previously worked on the script for this film, produced and wrote it. The cast includes Ryan Destiny from “Grown-ish” and Brian Tyree Henry from “Atlanta”, with Rachel Morrison (“Black Panther”) as director. This project has been a part of his creative endeavors for quite some time, having been written even before the release of “Moonlight”.

The Fire Inside” and “Mufasa” symbolize significant achievements in a career marked by both triumphs and tribulations, such as a close call that tested his dedication to inspire others.

In Disney’s Burbank studio, Jenkins remains calm and collected, much like the smiling boy in the photograph – eager yet composed, smoothly navigating this situation.

He stated, “The movies weren’t supposed to be out so close together; it was quite remarkable when it did occur. It’s just baffling to me that someone would label this as ‘Barry’s winter,’ a title I wouldn’t use for myself.

Although it’s true that the double dip has placed Jenkins squarely in the limelight during holiday movie seasons, being at the center of attention doesn’t sit comfortably with him. Instead, using his growing influence to help emerging artists realize their artistic aspirations brings him much greater fulfillment.

Through critically acclaimed projects like “If Beale Street Could Talk” (2018) based on James Baldwin’s novel and the recent Amazon limited series “The Underground Railroad” (2021), Jenkins has firmly established his production company Pastel as a significant player in independent filmmaking.

Initially, when ‘The Fire Inside’ was just a script, I didn’t envision myself having this career. However, I had faith that I would be part of the process somehow. When the film was made and I found myself with the opportunity to shine a light on someone, it became more than I had imagined. I entered this journey with the understanding that my role would be limited; instead, I aimed to establish a platform for another person to fully express themselves.

Apart from appointing Morrison for her directorial premiere with “The Fire Inside,” Jenkins and Pastel have financed a collection of highly praised films, such as the 2020 release “Never Rarely Sometimes Always,” helmed by Eliza Hittman, as well as the directorial debuts of Charlotte Wells (the 2022 film “Aftersun,” featuring Paul Mescal) and Raven Jackson (the 2023 film “All Dirt Roads Taste of Salt”). This company has also produced HBO’s “True Detective: Night Country,” which was written, produced, and directed by Issa López.

Claressa Shields’ tale aligns beautifully with Jenkins’ skillful empathy for narrating deeply intimate stories about intricate Black characters. In “The Fire Inside,” the initial portion unfolds similar to a typical sports film, following Shields as she strives to become a leading boxer, aiming to lift her family from poverty in Flint, Michigan. However, the heart of her narrative becomes apparent when she realizes, painfully, that winning an Olympic medal does not resolve her ongoing hardships.

Translating Mufasa’s role in “The Lion King” remake could be seen as stepping into unfamiliar territory – an extravagant, musically-inclined show featuring CGI animal characters, which is set to continue a successful franchise that already boasts a renowned Broadway production and a highly acclaimed 1994 animated movie.

However, just like “Mufasa”, these films – “Moonlight”, “If Beale Street Could Talk”, and “The Underground Railroad” – hold a personal significance for Jenkins. He noted that they are associated with a particular period in his life and an artistic phase he was going through. Yet, he emphasized that they have no connection to the tastes he developed as a young individual outside of this industry, before he decided to pursue filmmaking.

Jenkins frequently watched “The Lion King” movie, guessing he’s seen it over 150 times when babysitting his younger nephews. He mentioned that before going to film school, this might have been the most-watched title in his collection. When given the script, reading it allowed him an opportunity to draw upon his memories as a movie enthusiast.

The idea for “The Fire Inside” was ignited by his friend and producer Elishia Holmes, who was deeply fascinated by the 2015 documentary on Shields titled “T-Rex”. She posed the question, “Would you be interested in giving it a try?” I recognized numerous aspects of Claressa’s life that resonated with me – originating from a place outside the mainstream American culture, and overcoming obstacles through self-reliance and community support.

He felt such a strong connection to Shields that he knew he could craft her story into a film. But directing it was another matter.

Jenkins expressed that a significant part of her character’s narrative revolves around the experiences of being a young African-American woman in America, and the struggles women face more broadly, which may not be directly related to them yet they must assert control over these issues. He felt that a female character could resonate with this on an immediate, relatable level, and he didn’t even want to try to represent that experience indirectly.

After accumulating both the necessary time and resources, he decided to create and release “The Fire Inside.” To accomplish this task, he enlisted Morrison, a cinematographer whose previous works include “Fruitvale Station” from 2013 and “Mudbound” in 2017. Notably, it was for the latter project that she became the first woman to receive an Oscar nomination in her category.

Jenkins remarked, “Rachel and I have a long history together.” He added, “She possesses an unique elegance. When she embarks on a task, her dedication is profound, almost overwhelming. For a project like this, one needs someone who can delve into the formal elements to uncover the spiritual, intellectual, and emotional dimensions of being Claressa Shields.

I was reassured by Jenkins’ observation about Morrison’s diverse directorial skills in “Black Panther” and “Mudbound”. He mentioned her ability to manage both grand action set pieces and intimate dialogues. This made me believe she could handle both the high-intensity fight scenes and deep, heated dialogue sequences flawlessly. Here’s what I thought: “When the fists are flying, it had to have the same dynamic energy as a big-budget movie. And when there were two characters engaged in a highly charged conversation, that required the same level of finesse.

In a different phone conversation, Morrison expressed her search for a “tale I could strongly support, and Claressa’s story was exactly that for me. It’s incredibly inspiring, and she’s remarkably resilient.” She employed boxing jargon to explain her professional collaboration with Jenkins on the film.

She stated, “He was my cornerman,” referring to the person in a boxer’s corner who attends to injuries during a bout. “To have someone I admire leading a production is a dream come true. It’s like winning the lottery. I consider myself lucky to have worked with many filmmakers who recognized something in me that perhaps I didn’t see in myself. Barry is one of them. He was an invaluable asset. His script was the foundation, but he also encouraged me to infuse my own personality into it. This speaks volumes about his talent for writing and generosity in allowing room for creativity.

Regarding “Mufasa,” during the pandemic lockdown while he was engrossed in postproduction work on “The Underground Railroad” (based on Colson Whitehead’s Pulitzer Prize-winning novel of the same name), a script unexpectedly arrived in his email inbox. This project tells the story of a runaway slave named Cora, portrayed by Thuso Mbedu, and her harrowing journey towards freedom.

Jenkins found himself ready for a change, not actively seeking it but yearning for something new and distinct from his previous work. However, he approached the script with great reservation as he struggled to see how his unique style would fit this specific genre, tone, and magnitude, despite being a fan of it.

As a devoted cinephile, one factor that drew me into this venture was the hair’s breadth escape from disaster that threatened to halt the production of “The Underground Railroad.

Approximately two months before its release, the show was in danger of being cancelled – issues unrelated to our creative vision were the cause. We wouldn’t make it to day one due to budget issues and other extreme circumstances. I had to find a solution to keep that show alive. If someone like Barry Jenkins, fresh off a best picture win, can’t create a series about his ancestors because of logistical problems or various obstacles, then how will the next person with similar aspirations have the opportunity to do so as well?

He continued: “So we made the show — 470 pages of television in 100 days. I had to work eight days a week with all of my collaborators, scouting on the weekends, writing on the weekends. It probably took a few years off my life, trying to logistically figure out a way to get that show back into a state where you could watch it and not feel any of that. That was my task. I’m a humble person, but it’s insane that we pulled off that show.”

Following the ordeal, Jenkins felt no apprehension about venturing into the realm of photorealistic animation with “Mufasa.” He noted that at some point, the process begins to cooperate with you. The animators were commendable in mastering the language of Jenkins and his creative team.

Despite venturing into a new genre, the filmmaker firmly asserts that “Mufasa” carries the distinctive style of Barry Jenkins.

Mufasa is a character embarking on a journey,” he explained. “What emotions does he experience? What influences his feelings? What uncertainties and fears does he harbor? What does he believe he knows, but actually doesn’t? These are the same inquiries we typically address when creating our films. I believe I was selected to direct this film because they wanted me to eliminate technology and focus on exploring those questions.

Despite both “Mufasa” and “The Fire Inside” premiering simultaneously, you won’t find Jenkins strolling through theaters, gauging audience responses to his recent productions: “When one of my films debuts, I prefer to retreat into the wilderness without WiFi and unwind. I strive to minimize distractions as much as possible. Watching a movie in a theater doesn’t bring me joy—it feels like constant judgment. It’s just not my style.

But his humility doesn’t take away from the realization that he, indeed, is having a moment.

When composing “The Fire Inside”, he hadn’t anticipated that it would lead to a film like ‘Mufasa’ being shown on 4,000 screens. He emphasized that this wasn’t driven by financial rewards but simply the conviction that the woman’s tale needed to be shared. He cherishes both equally, and moments like these make him feel grateful – whether he’s driving home or enjoying his morning coffee, he reflects on his good fortune.

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2024-11-19 14:34