Sinners’ review .. Theft of the Black Soul

When you watch a horror movie, the majority of work makers from the beginning of the first shot try to put you on the Hitchcock track to feel that there are speeches followed by screaming and crime, but in the Sinners – Singer – by director Ryan Koger, we are facing a completely different experience, an experience that goes beyond the classifications, and redefines horror as a tool to understand history, music and identity.

The events begin with the return of the twins “Smok” and “Stack” – from the veterans of the First World War – carrying the Chicago gang funds to their heads of head in the state of Mississippi, and plans to open a black bar of “Jock Ginet”, which is a African -African general term referring to an unofficial place that offers music, dance, gambling and drinks, and after the opening scene, it takes time to review relationships Humanity between the two brothers and the community surrounding them, and the preparations for building this haven for owners of black skin outside the scope of the white man’s control.

The film begins as a historical drama in the thirties of the southern American, but it quickly turns into a horror film on vampires inside a dance music show, the film does not go on one line, but rather intelligently deviates between the species, where moments of terror overlap with dance in the scene of the boy’s singing, Sami Moore’s singing in the pub, which is a dramatic turning point that captured the souls of those present from the past and the future, to participate in a performance that combines African dance and machines Guiter and contemporary dance.

The camera was in its continuous circulation in this scene about Sami and the souls that join the pub from different times, a charming moment that makes you realize that the boy’s singing at that moment expresses something greater than itself, and guitar plays a pivotal role as a symbolic resistance tool, which goes beyond being a musical instrument to become a bowl of black memory that refuses to fusion and switch to something else.

The scene of singing also played a pivotal role in the development of the film’s plot, the boy’s song raises the appetite of the white vampire, who sees in the talent of Sami a way to advance, and tries to take his talent and exploit it, which makes him an explicit metaphor for the exploitation of white musicians of black culture, who only absorb blood, but also steal music and identity.

Horror here is not a means of intimidation, but rather a tool for reading history, vampires are not just monsters as we have been entrusted in Dracula films and others, but a metaphor for the forces that absorbed the spirit of black culture and stole its music, through this metaphor, the film raises questions about racism, the authority of the church, and the white man who claims salvation and survival, while his hands and lips are stained with the blood of his victims, They shed their roots and became vampires, just like their white leader.

Actor Michael B. Jordan was glorified in the role of the identical twins without falling into the trap of resort to formal differences, relying on an accurate body language and eye looks that make you realize that you are in front of two different characters from each other, in contrast, Miles Katon performed a remarkable performance in the role of the talented farmer, the preacher and son of the twins.

Sinners is not a traditional horror movie, but rather a message that the real horror in the view that sees in the history of the other deserves to plunder, for this the work makers did not resort to the scenes of vampires a lot, because the real horror in stealing the black spirit.