Academy Award-winning director Barry Jenkins, known for his critically acclaimed dramas like Moonlight and If Beale Street Could Talk, is stepping into the world of big-budget, all-digital filmmaking with Disney’s Mufasa: The Lion King. As a prequel to the 2019 live-action The Lion King, Jenkins embraced the challenge of crafting an all-virtual production. However, he admits it may be his last venture into this type of filmmaking.
Tackling an Unexpected Project
In a recent interview with Vulture, Jenkins acknowledged the skepticism surrounding his involvement in such a project. “On what planet do I, Mr. Moonlight, make a prequel to The Lion King?” he said. “When I took this job, the idea was: ‘What does Barry Jenkins know about visual effects? Why the hell would he do this movie?’ I think part of that I found very invigorating.”
The project marked a significant departure for Jenkins, who typically favors more grounded, character-driven storytelling. Mufasa was created entirely using virtual production tools, a technique popularized by Jon Favreau in the 2019 version of The Lion King. Jenkins spent 147 days filming the prequel, all without stepping foot on a physical set.
Virtual Filmmaking: A New Challenge
Despite the opportunity to explore cutting-edge technology, Jenkins admitted that the experience didn’t align with his filmmaking sensibilities. “It is not my thing,” he said of all-digital filmmaking. “I want to work the other way again. I always believe that what is here is enough… How can these people, this light, this environment come together to create an image that is moving, that is beautiful?”
His longtime producer, Adele Romanski, hinted at Jenkins’ potential next project—a biopic about choreographer Alvin Ailey for Searchlight Pictures. Regardless of his next step, Romanski emphasized that it will likely return to more intimate storytelling: “It’s not going to be a $250 million movie, right? So we’re going to have to go back to embracing a much more limited tool set.”
A Jenkins Touch on a Disney Blockbuster
Even in the virtual realm, Jenkins brought his signature style to Mufasa. The film incorporates long, fluid takes reminiscent of slow-cinema masters like Béla Tarr and Gus Van Sant. “We were trying to do these scenes in as few shots as possible,” Jenkins shared, even though the digital nature of the project didn’t require such an approach.
At one point, Disney reportedly expressed concern that a particular long take felt “slow,” though Jenkins wasn’t forced to change it. These deliberate visual choices aim to evoke a sense of depth and beauty, distinguishing Mufasa from more traditional Disney fare.
A Bittersweet Departure
While Mufasa offered Jenkins the chance to push his creative boundaries, it also underscored his preference for traditional, tactile filmmaking. As Jenkins continues to explore new projects, fans can expect him to return to the grounded storytelling and visual artistry that made him a household name.
Disney’s Mufasa: The Lion King is set to release in theaters on December 19.
