We often scrutinize an artist’s workepoch game, searching for autobiographical clues. But in Titus Kaphar’s recent paintings, and in his new film, “Exhibiting Forgiveness,” such close reading is unnecessary. His life experience is laid bare, in all its poignant and — sometimes agonizing — pain.

The paintings, now on view at Gagosian in Beverly Hills, Calif., through Nov. 2, figure prominently in the film, which premiered at the 2024 Sundance Film Festival and will have its theatrical release nationally on Oct. 18. The movie, Kaphar’s first feature, tells the story of a young painter reuniting with his estranged father — a recovering addict — even as he also deals with the final days of his ailing mother.

This foray into Hollywood — Oprah Winfrey and Serena Williams were among those who attended the Sept. 12 Los Angeles premiere — only cements celebrity status for Kaphar, 48, who, in the last decade, has won a MacArthur “genius award,” helped found the New Haven art incubator and fellowship program NXTHVN, created Time magazine covers about Ferguson protesters and the killing of George Floyd and seen his work collected by the Metropolitan Museum of Art, the Museum of Modern Art and the Whitney. His paintings of sorrowful mothers evoke classical pietas.

The two-hour film — which Kaphar wrote and directed — gave him a way to experiment with another art form, one that can reach well beyond the number of people likely to see his paintings. It also represents a significant filmmaking step from Kaphar’s documentary shorts “Shut Up and Paint” (2022), which was shortlisted for an Oscar and addressed the art market’s stifling of social activism, and “The Jerome Project” (2016), which began to explore the artist’s relationship with his father.

But perhaps most importantly, the movie is Kaphar’s message to his two teenage boys. “I was trying to figure out how to help my sons understand how different my life is from their lives and why I’m so protective of them — why I adore them the way that I do, why I insist that I give them a hug and a kiss in the morning,” said Kaphar, wearing a cap and sweatshirt in a recent interview at his New Haven studio. “I still put them into bed, kiss them on their foreheads.

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