[Quick Summary: Told at three ages, this story follows abandoned Little/Black who is struggling in Miami to survive life and figure out his sexuality on his own.]
As I was reading this script, I didn't really pay attention to the setting.
Later, I realized how important Miami is to this particular story and filmmakers.
Without the beach, the ocean, and sunny temperatures, it's a different story.
Miami also has its own lingo, as every metropolitan city does.
I liked how the writer explained a bit of local jargon without dumbing it down or insulting the reader's intelligence.
It is matter of fact and informative (the insult is insulting, but not too insulting):
ex. "Black nodding.
BLACK: Can't picture bein' in Miami with no car, man.
KEVIN: Yeah it's real out here.
BLACK: I bet.
KEVIN: Real slow, real hot, real busted, got me like a duck out here.
Both laughing at that, you can be called a lot of things in Miami and next to snitch, duck is about the worst."
WHAT I'VE LEARNED: Don't be afraid to explain a bit of local jargon, if it helps the reader understand context.
Without the explanation, I would've been clueless if "duck" was a good or bad thing.
by Barry Jenkins
Based on "In Moonlight Black Boys Look Blue", by Tarell Alvin McCraney