Come for the music, stay for the metaphor
Director Coogler has written a period gangster/horror piece for the deep south, evoking the oppression of the black people at the hands - and fangs - of the white man. The meaning is obvious: the white man has sucked the life blood from the black man, only to have him rise again more powerful than before. Unfortunately, he's lost a piece of his soul along the way.
That peace is what Coogler is searching for in his musical set pieces which steal the show by featuring the most energetic and creative moments in the movie. The result is the kind of love-hate affair that can only culminate in the total destruction of all involved - another blunt metaphor.
Sinners is one of those rare films that is able to combine multiple genres without losing its identity (I'm looking at you Emilia Perez). But the only identity politics on display here are given voice by a mixed race woman when asked what she is, "I'm human" she replies, expecting to be treated as one. In fiction and in fact, it's never that simple.
That peace is what Coogler is searching for in his musical set pieces which steal the show by featuring the most energetic and creative moments in the movie. The result is the kind of love-hate affair that can only culminate in the total destruction of all involved - another blunt metaphor.
Sinners is one of those rare films that is able to combine multiple genres without losing its identity (I'm looking at you Emilia Perez). But the only identity politics on display here are given voice by a mixed race woman when asked what she is, "I'm human" she replies, expecting to be treated as one. In fiction and in fact, it's never that simple.
- danamcrane
- 25 jul 2025