While it may not be easily admitted by some due to the idea that we should never be open about such bizarre impulses, there comes a point in all of our lives where we simply want to escape our humdrum, banal existence and simply retreat into the wilderness, whether literally or metaphorically, since it speaks to an underlying animalism we all possess. There is something about the allure of simply disappearing from everyday life and instead embracing a more sensual, meaningful existence that many of us crave on occasion, or at least to the degree where we entertain the thought for a few brief moments. This is the impetus behind Box of Moonlight, a film written and directed by independent wunderkind Tom DiCillo, who tells the very simple story of a middle-aged engineer growing tired of his routine, and after a series of challenges finds himself trapped in some tucked-away corner of the American Midwest, where he encounters a peculiar local eccentric who takes this uptight visitor under his wing, intent on showing him the value of a more simple life, one that is not driven by schedules and phone calls, but rather through following his instincts and embracing the unpredictability of life. There was a point in the 1990s when DiCillo was cited as being one of the most exciting young filmmakers, with works such as Johnny Suede and Living in Oblivion placing him at the forefront of American independent cinema at the time. He may not have gained the respect or acclaim he deserved after the fact, but those films, along with Box of Moonlight, demonstrate a director with an abundance of talent, and this film in particular is possibly his greatest work, a simple but evocative blend of hysterical comedy and heartfelt drama, carefully pieced together by a director whose commitment to both the concept and execution of this film makes for a truly captivating examination of some profoundly deep themes, each one speaking directly to an underlying sense of yearning we all feel at some point, which is expertly captured throughout this tremendous film.

Box of Moonlight is essentially a combination of an existential character study and an outrageous buddy comedy, with DiCillo being motivated to explore the relationship between two very different individuals after they cross each other’s paths. Part of the impact this film makes comes in the form of the performances, with the story revolving around the excellent work being done by the two leads. John Turturro was already an established actor, having made quite an impression through his collaborations with several of the finest directors of the period. Conversely, Sam Rockwell was still relatively unknown, but was clearly talented enough to bewitch the few people who were aware of his work before this film, which was one of his first breakthrough moments as an actor. The pairing of Turturro and Rockwell is very effective – they’re both journeyman character actors, extremely dedicated to their craft, and capable of creating unforgettable characters. It’s Turturro who has the more interesting part, by virtue of the fact that his character is the one who actually undergoes some degree of change, and he proves to be an exceptional and captivating lead, developing this character as someone whose entire existence is seemingly hinging on his ability to follow a routine, only to gradually realize that there is more value in liberating himself from these constraints. Rockwell is a perfect sidekick, and his eccentricities have rarely been more adorable than in his performance as this peculiar young man whose life revolves around his ability to simply disappear into the ether, living off the grid and finding joy in the simplest aspects of day-to-day life. The chemistry between the two leads is impeccable, and the film as a whole proves to be quite a delight, even at its most simplistic or when character motivations may be slightly unclear, since there is enough depth to these individuals to keep us engaged and invested in their journey.

While it is mostly portrayed as a very charming story of a budding friendship between two completely different, seemingly incompatible people as they find common ground and realize the best companions are those that enter one’s life unexpectedly, there is a lot more depth to Box of Moonlight that initially meets the eye, which is the rare kind of comedy that prioritizes the underlying meaning, whether philosophically or in terms of its social and cultural details, long before it figures out the jokes that would be packaged alongside them, which is what gives it such a remarkably unique tone and style. This is essentially, at its core, a film about the importance of liberating yourself from the shackles of everyday existence, and embracing the volatile and unpredictable nature of reality, which can open one’s mind up to countless new opportunities and give them a new appreciation for the smallest and most seemingly inconsequential details that are usually overlooked in favour of those that align with our banal daily routines. Box of Moonlight is, more than anything else, a steadfast and poignant manifesto to the value of leading a simple life, and a celebration of the moment one finally decides to abandon all sense of reason and simply embrace the sensual journey that is being alive. It sounds very esoteric, and perhaps slightly cliched, but its a valuable perspective that the director captures in vibrant, captivating detail, looking at the journey taken by someone who had previously been driven to the point of frustration over the most negligible of obstacles, but who makes the conscious decision to emancipate himself from this mundane life he has been living, even if only for a few days before returning to tedious domestic routine – although the film implies that the protagonist has learned a substantial amount from his sojourn into the wilderness, enough to change his entire way of thinking and approach to living life, containing a valuable set of insights that speak to every viewer in some way or another.

A film like Box of Moonlight may contain a very strong premise, and one that touches on universal themes, but the factor that will essentially decide where it succeeds as more than just an ambitious concept comes in the form the film takes, and it’s clear that there was an abundance of effort that went into crafting this film. DiCillo has a gift for being able to take so many bold concepts and compress them into a single story, which never seems overstuffed or unnecessarily dense, but rather moves at a unique pace that is neither too fast nor too slow, being able to be whip-smart and rapid-fire where necessary, as well as pausing to ruminate on any of its underlying themes. Magical realism is a concept that has not been as present in film as much as it has in the written medium, primarily because this style of storytelling has a very particular kind of atmosphere that is difficult to represent visually without it becoming twee or overly sentimental. The director approaches this film with a sense of awareness around the challenges that would surround preventing it from falling victim to its own idiosyncrasies. Needless to say, Box of Moonlight is terrific, being pitched to just the right tempo, managing to be enchanting without becoming mawkish or overtly quaint in a way that would distract from its message. It’s a truly enchanting film, and DiCillo emphasizes the possibility that this film is taking place in a slightly uncanny version of our world, one that resembles it for the most part, but also where nothing quite works the way we’d expect it to, leading to a lot of genuinely charming moments in the continued misadventures between these two men as they set off on this voyage of self-discovery. Being able to capture such a vibrant, captivating tone while also exploring the depths of the human soul and our incessant need to express ourselves is quite an accomplishment, and one of the many reasons why Box of Moonlight proves to be such a delight.

It has been nearly twenty years since DiCillo’s last narrative feature, and a decade since his last filmmaking endeavour overall, which seems quite unfortunate considering his ambition and willingness to touch on some very daring subjects, which he did in a challenging and unconventional manner, enough to make him a very distinct voice in independent cinema. Box of Moonlight is perhaps his most well-crafted, fully-formed film, a comedy with many different dimensions and the originality to cross many different boundaries. Its a film with a unique perspective and a lot of great ideas, and while some of them may not be particularly well-formed to the point where they make perfect sense, the film as a whole is a daring, bold exercise in exploring different sides of the human condition, and a wonderfully eccentric attempt to confront the broken promises of a brutal capitalistic system that is designed to hold people hostage, preventing them from seeing the world that surrounds them. DiCillo’s work here is remarkable, and through collaborating with two terrific actors who are perfectly aligned with his vision, he manages to make a film that is as hilarious as it is heartfelt, the two qualities existing in tandem and being the root of a truly tremendous, incredibly moving film that elicits as much laughter as it provokes, though. Upbeat, complex and genuinely very moving in how it presents some bold ideas, Box of Moonlight is a fantastic work, and one of the many gems that may have a small cult following, but warrant a much broader audience, if only to allow viewers to see its peculiar but resonant perspective on ideas that are relevant to many of us, even if not everyone will readily make such an admission.