When I think of "moonlight", I think of an inevitable glow, light in the darkness and I think of reflections. Moonlight delivers with shining performances by supremely talented actors, real life reflections of brutal pain and honesty, thus allowing the audience to bask in the afterglow of one of the most powerful, timeless 110 minutes of cinema this year. And it's destined for star glory. 

Rivaling La La Land and Manchester by the Sea in the 2017 award season stakes, Moonlight is the intimate and heartbreaking and deeply personal contender. But forget all that trophy buzz and let's just appreciate it for what it is in cinematic terms and breakthroughs. It's exactly that - a breathtaking breakthrough. Barry Jenkins shows us what it's like being a black gay man in the US - he shows us by creating something that's as much art as it is an honest recount. The film follows three acts reflecting three names and nicknames: Little, Chiron, and Black. Immediately we have a sense of identity, even if it's a lost identity or one struggling to be seen. Through childhood, adolescence and adulthood, the distinct chapters tell the story of a young gay black man growing up in a rough neighbourhood in Miami, facing the struggles of having an abusive, addict mother, and sexual confusion and repression.

Though this is a storyline without twists and turns, it's the way it has been carefully crafted that makes it so gripping. We have themes that are rarely visited in cinema - or if they are, they rarely do them justice - but additionally, it's a hauntingly visual spectacle rich in imagery. It goes beyond a 'coming of age' movie, and it's the magical moonlit moments that stay with you. There's one scene in particular which is, on the surface, a boy being taught to swim. Sounds simple enough. But with Moonlight, it's the crashing waves, the fatherly arms and the letting go, the timing, the boy experiencing freedom perhaps for the first time, struggling and triumphing over the waves... The water's deep and you know what?! - so is all this imagery. In the Q&A I attended with Jenkins, he spoke of having just one shot at filming this scene, and though he was worried about the grey clouds and turbulent waves, it really couldn't have been more perfect.

The swimming instructor in question is Juan, a surrogate father figure Chiron accidentally finds refuge with. Played by Mahershala Ali, there's something about him with a strange tenderness despite him being a drug dealer. He dominates the screen time he has and deserves his Oscar nomination wholly. Supporting cast also includes a wonderful Janelle Monae playing Teresa, Juan's girlfriend, and Naomie Harris as Chiron's mother who is increasingly tormented by substance and her own downward spiral and demons. We simply have to talk about Harris too, who apparently was initially opposed to playing such a character and actually ended up filming this in the few days she had off during the Spectre press tour. I mean - wow. She is totally transformed and unrecognisable from any other role she's ever played, and this is the sign of a fantastic actress. I hadn't ever considered Naomie Harris as one of the greatest British actresses around at the moment but this changes everything.

But enough about everyone else; this film is centred around one man only. In the words of Jenkins, everyone else around him is but a satellite. Chiron's perspective is hammered home (sometimes literally) through hand-held cameras that are dizzyingly effective. It's hard to imagine this film was made for a mere million-and-a-half dollars. In film terms that's nothing - to give that perspective, the upcoming Pirates of the Caribbean film has a budget of a cool $320 million. Anyway, camera work and intricate details account for much of the impact but the biggest impact is undoubtedly the powerful, powerful performances from the three actors who play Chiron: Alex Hibbert from childhood, Ashton Sanders as a teenager, and Trevante Rhodes as an adult. All sharing equal screen time, these relatively unknown names weren't chosen for their physical resemblance. What they all share is the captivating ability to draw us deep into Chiron's world, through character, lonely silence, his secret longing towards his childhood friend Kevin, the tiniest mannerisms. It's really quite remarkable. The third act nearly has us fooled that Chiron has changed from his troubled, shy, younger self but this hench, gold-toothed grown up man should not be judged on appearance. There's an extraordinary shift in a heartbeat from a single phone call - again, a superb piece of acting. Going back to Hibbert, playing a 'Little' child of little conversation, it's the few lines he does speak that pierce your heart. Though there is physical bullying, a lot of the effects on Chiron are told more subtly.

"At some point in your life, you gotta decide for yourself who you want to be."

Words that could seem cheesy or scripted in any other production have no such worry in Moonlight. It's raw and authentic, with words that will speak to anyone even if you don't have any direct connection to the film's material. Jenkins went away and wrote the script in 10 days - in Brussels. He didn't need to be in Miami because the source, the content was in him, and as a result it wreaks with raw authenticity. I buy into every word; there is just so much heart in this. It's so personal (combined with the simple but clever camera tricks) that I felt intrusive just sitting there. When I found out it was actually based on playwright Tarell Alvin McCraney's own life and play, it made sense that it almost unfolded like a diary. "It was like writing up memories in a diary - two thirds of my life, and going "here, have it" to Barry," McCraney said at the Q&A. The film itself was made in 25 days, but there is no sign of rushing either. Moonlight doesn't feel the need to spell things out (in fact, one critical event is deliberately cut short).

Moonlight is not like a lot of films I've watched in the cinema and I have a lot of time and respect for it. The grave loneliness is tough to watch at times but ultimately the story goes full circle. Add the contrasting, striking visuals that just work, and the haunting music, and you have a film that wants to tell you a story and it'll be one that sticks. Whether it scoops up lots of shiny gold awards or not. Jenkins said so himself: inspiring the kids in Miami who got to watch people from their own hometown make an actual movie is far more worthwhile than if they had won those BAFTAs at the weekend.

Moonlight is in cinemas on Friday 17th February.
Watch the trailer here: