Sinners is a film that, in the words of Oakland-born writer-producer-director Ryan Coogler, is “raging against the concept of genre.” Part deeply personal portrait of a Black community in 1932 Jim Crow Mississippi, part magical-realist tribute to the cultural power of Delta blues, part gory monster movie blockbuster, this movie attempts a lot and succeeds frequently and with great style. The theme that ties it all together and remains relevant to our current times is the trap of systemic racism – when Black people in the U.S. achieve financial success despite oppression or create powerful and popular art out of their suffering, that achievement puts a target on their backs for those looking to exploit them or tear them down. The smooth-talking vampire villain in the film recognizes the societal position the main cast is placed in and offers a tempting escape: eternal life and undying fellowship. His ulterior motive, however, is really just another form of the same trap.
An aspect of this movie that cannot go unmentioned is its fantastic score (composed by Ludwig Göransson). Sinners was inspired by Coogler’s experience of listening to Delta blues music after the passing of his uncle, and feeling like he had summoned his spirit through the music he loved. Reverence for the blues and its power to bring joy and beauty by expressing shared pain is really the backbone of the film. It’s upheld by a phenomenal performance by Miles Caton as protagonist Sammy, a young sharecropper and gifted musician who is thrown into adulthood in more ways than one throughout one very long day. There’s also some extremely sinister banjo playing by the vampires.
With its incredible ensemble cast (including two Michael B. Jordans), original and fun take on the vampire mythos, and clear personal significance and care paid by its creators, it’s no wonder that Sinners is already being hailed as an instant classic. In a media landscape flooded with reboots and predictable formulas, Sinners stands out not just for its daring mix of genres, but for how fiercely it believes in the power of Black art — and warns us of the forces waiting to drain it dry.
P.S. Don’t miss the mid credits scene!
See Ryan Coogler’s interview on Democracy Now.
