Lisa Kennedy In “Master of Light,” Rosa Ruth Boesten’s superbly intimate portrait of painter George Anthony Morton, shadows matter as much as light.
The documentary, which won the grand jury prize at the SXSW Film Festival, deals with Black trauma, gently acknowledging change without over-trumpeting resilience.While serving time in federal prison for selling drugs, Morton studied the works of Rembrandt and other classical painters.
Unlike too many formerly incarcerated people, he found work when he was released after a 10-year stint. He painted the portrait of the Black owner of a gym, which led to more painting.“Master of Light” makes clear that just because Morton — who lives in Atlanta with his partner and young daughter — has found his calling doesn’t mean he’s at peace.
And the film toggles between Atlanta and the Kansas City neighborhood of his ruptured youth, where he returns to paint portraits of some of his family members, using the style of the Dutch Masters he so admires.
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