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Aaron Pierre on Enduring the Trauma and the Triumph of ‘The Underground Railroad’ Kevin Fallon There is something about the way Barry Jenkins, who wrote and directed the films If Beale Street Could Talk, frames a close-up. It’s a lingering, somewhat romantic gaze invigorated with a slight change in zoom. The actor stares directly through the camera, as if breaking the fourth wall. It makes you feel like you instantly know them. Whether it’s an extra who isn’t seen or heard from again or the protagonist whose journey we follow, Jenkins renders a sudden humanity in them. Especially in those dramas, which center around Black characters battling the demons hurled at them by an unjust society, there’s a poignance to that, one that is almost revolutionary: the marginalized whose stories are relegated to the background, whose humanity is rarely explored onscreen, instantly demanding your compassion, that you know their truths. That they aren’t only their

United statesUnited kingdomKathleen newman bremangHolland othelloAaron pierreBarry jenkinsColson whitehead pulitzer prize winningRobert danielsThuso mbeduDaniel fienbergDaily beast kyleAmazon studiosBeale street could talkUnderground railroadColson whiteheadPulitzer prize winning