Director Ryan Coogler's new film, *Sinners*, transcends the typical vampire horror genre by immersing viewers in the vivid setting of Mississippi during the 1930s. The film uniquely leverages the blues, often dubbed "the devil's music" by contemporary preachers, to delve into the lives of its predominantly African-American characters, led by Michael B. Jordan, who plays twin brothers Smoke and Stack.
Eric Goldman of IGN highlighted in his glowing review that *Sinners* is infused with music, beginning with the blues performed by characters Sammie (Miles Caton) and Delta Slim (Delroy Lindo) at Smoke and Stack’s venue. Coogler uses the blues as a thematic anchor to explore how music unites people across different generations and backgrounds, even if they are unaware of the historical threads connecting them. The vampire leader, Remmick (Jack O’Connell), adds a layer of complexity by paralleling the blues with the Irish folk music of his heritage, which plays an increasingly significant role throughout the film.
Through the lens of African-American blues and Irish folk music, Coogler examines the shared colonial histories of humans and vampires. Both musical genres are celebrated in spectacular set pieces, making *Sinners* a "musical adjacent" film that vividly demonstrates how music echoes through time and immortalizes its creators.
In a recent interview with IGN, Ryan Coogler discussed the significance of blues and Irish music in *Sinners*, the film's standout musical sequences, and why the vampire antagonist, Remmick, was as personally impactful to write as Killmonger was in *Black Panther*. The following conversation has been edited for clarity.
**IGN: Can you talk about what blues music means to this world and these characters?**Ryan Coogler: Blues music is a profound affirmation of full humanity for the characters. It's intertwined with church music, yet it's labeled as the devil's music due to the judgment it faced. While church music caters to the soul, blues music embraces both the soul and the flesh, acknowledging the pain, desires, and anger that come with life. It's a form of rebellion against the oppressive circumstances faced by these people, celebrating the beauty of the human condition in its entirety, unlike the more sanitized church music.
Blues music provides a safe space in juke joints where individuals can be their authentic selves, free from the constraints of societal expectations. It's a place where you can express your true desires and identity, something challenging to do in the oppressive environment of a cotton field.
IGN: What’s your read on the vampire community? They bring all these people of different races and backgrounds together but now they’re a collective rather than individual. There’s probably a lot of ways people could interpret what that means.
Ryan Coogler: I love this movie and want it to resonate with audiences as authentically as possible. Once it's released on April 18th, it belongs to the viewers. I poured my heart into writing Remmick, much like I did with Killmonger in Black Panther. I wanted Remmick to be a master vampire, exploring his character's depth and the group dynamics as they develop throughout the film. His character challenges preconceived notions, presenting as one thing but revealing a deeper, more complex identity. His connection to the people he interacts with, regardless of race, is powerful and exciting.
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IGN: My two favorite sequences in this movie are the two big showstopping musical set pieces. The juke joint one and then the vampires get theirs too.
Ryan Coogler: Those scenes are the heart of the movie, showcasing fellowship and love. They're crucial to understanding the film's essence, reflecting the characters' resilience against oppressive structures. The juke joint and Irish step dance scenes are acts of rebellion, highlighting the cultural crossovers and the timeless nature of music. I wanted to evoke the wonder and excitement of a cinematic experience, much like seeing dinosaurs in a jeep for the first time.
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IGN: The juke joint sequence is particularly amazing because it's staged as a one-er. You're playing with time, and you're showing the cultural crossovers too. Visually, you're showing us how music is timeless, or at least what it brings out in people is timeless. At what point did you realize you wanted to play with time in that scene?
Ryan Coogler: The idea emerged during the writing process. We needed more than vampirism; we needed other supernatural elements. I wanted to capture the feeling of witnessing a virtuoso performance and the communal experience of understanding its cultural significance. Cinema is my language, and I aimed to communicate that transcendent feeling uniquely through film. The juke joint culture of the 1930s developed as a response to oppression, providing a space where music could bridge generations.
IGN: There’s that second tour de force musical set-piece later, and it's from the vampires’ perspective using traditional Irish folk music.
Ryan Coogler: Irish folk music embodies a fascinating contrast, much like the delta blues. Songs like "Rocky Road To Dublin" convey heartbreaking stories with an energetic flair, reflecting the resilience and hidden meanings within both African and Irish cultures. Remmick, the vampire, finds a connection with the people he encounters, understanding their struggles intimately. This shared experience transcends racial differences, fueling the excitement and passion behind the film's creation.
