Written by Kenza Bouhnass Parra
Sinners, written, co-produced, and directed by Ryan Coogler, is the first gem of the year. A Southern horror-musical that subverts any kind of expectations and reveals itself as one of the most passionate love letters to the art of filmmaking of the decade.
Twins Elijah "Smoke" and Elias "Stack" Moore (both played by Michael B. Jordan) come back to their hometown after serving in the military and working in Chicago for the Chicago Outfit, to open a juke joint for the local community on a sawmill bought from a racist landowner. They are joined by their cousin Sammie (Miles Caton—who is an absolute revelation), a fervent player of blues music, who has been warned of the devilish effects his music can generate. The day transforms into the night, the opening of the juke joint being celebrated to no end, the devil shows up uninvited to the party.
With Sinners being described and marketed first and foremost as a horror film, my expectations were lying in that area. It is safe to say that any kind of expectation was not only turned and torn, but the actual experience rewired my brain chemistry in a way that I was not sure was the same film I had seen advertised or watched the trailer of. The story clearly presents two parts, the first one lingering on the making of the juke joint and the organisation of its opening night, resembling a characters’ study, focusing on their origins as well as the rich history of the hometown, establishing dynamics between the different communities, the twins and many people who were once in their lives. When the narrative moves on to the second act, introducing the greatly-promised supernatural aspects, the audience has been charmed by its ensemble, enraptured by their relations, sitting on the edge of their seat, hanging on to every word coming out of their mouth. And where the brilliance of Sinners is made undisputed is by so cleverly shifting the tone and atmosphere while maintaining authenticity. Instead of losing itself in the familiar tropes of horror, Sinners uses them instead to leave room for in-depth exploration of race and cultural layers. The true mark of the film becomes apparent: an examination of the Jim Crow-era South through a homage to blues music.
Indeed, music—delivered by the great Ludwig Göransson, who might have once again composed my favorite score of the year—holds a primary role in the narrative, but also in the characters’ interiority. A number of them connect through musical numbers, relations are built, alliances are solidified, betrayal is made apparent, and souls are revealed.
The most striking aspect of Sinners is its cinematography. Shot on 65mm, cinematographer Autumn Durald Arkapaw combines the Ultra Panavision 70mm and the IMAX 15-perf 70mm cameras, an absolute first. The result is a change in the screen ratio, going from 2.76:1 to 1:43:1, the widest picture size to the biggest IMAX screen. An achievement which, on its own, warrants a trip to the cinema.
A stunning oner combines both music and visuals, through which Coogler creates an ascension to the highest form of filmmaking. All sensations are so hauntingly stimulated, the scene imprints itself onto your bloodstream, nests itself into your spirit, where it’ll stay even long after the credits have finished rolling. It is the essence itself of what cinema only, can achieve. And it also warrants a trip to the cinema.
Sinners is a wild ride, a spellbinding experience that merges genders. One that I cannot wait to revisit and cannot recommend enough… on the big screen!
Photo credits : Warner Bros
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