Ryan Coogler’s “Sinners” and Afro-surrealism

Arrick Wilson, Photo Editor

Afro-surrealism

“Get Out.” “Atlanta.” “They Cloned Tyrone.”

What do these films all have in common? They are all films and series that fall under the genre of Afro-surrealism.

In simpler terms, Afro-surrealism films capture real Black life with hints of dreamlike, extraordinary, bizarre juxtapositions, which in turn equals a deeper meaning of the culture.

Amiri Baraka, a Black writer and poet, was one of the first to coin the term ‘Afro surreal,’ describing it as the capability to make a “different world organically connected to it,” according to Visit Projects. D. Scot Miller, a Black writer, published the ‘Afro Surreal Manifesto,’ connecting the term of Afro-surrealism in the 21st century. 

Miller saw the connection between surrealism but noted its significant relationship with the Black community for it to be equated as Afro-surrealism, according to Visit Projects. 

The review

Ryan Coogler’s “Sinners” is a nod to the genre. It focuses on two Black twins, both played by Michael B. Jordan, who return home to vampires. 

“Sinners” used Afro-surrealism as a tool to connect to real-life situations. The film is one of the latest projects of Coogler’s filmography, which has been filled with “Black Panther,” “Creed,” “Fruitvale Station” and many other films focusing on Black life.

The film is one of the biggest accomplishments of Black film on the silver screen, becoming an accumulation of Black life and music. Speaking of music, the film focuses on the role that music plays in the Black community, especially the blues. 

One of my favorite scenes in the movie is when Sammy, played by Miles Caton, conjured up Black musicians from the past and future, signaling the role that music plays in our lives. This scene was an amazing and eye-opening experience, another nod to Afro-surrealism.

This film is an experience. Set in the 1930s, Coogler made you feel the air of the sharecropping South in Mississippi. The film explored the racist acts of the times, signaling back to a tougher time for Black people, with music being our relief.

One thing I truly loved about the film was the ending. The film ends with some of our main characters on top, some alive, some dead-“ish.” 

The film is a genre blender, mixing horror, romance, drama and even comedy. 

I believe that Afro-surrealism can be used as a blanket term. The genre can be mixed with others, in an attempt to tell a story in a way in which it can be told. For example, “Sinners” can be seen as a genre-fluid piece, according to an interview Coogler did with the Hollywood Reporter.

“The film is very genre-fluid,” Coogler said. “It switches in and out of a lot of different genres. Yes vampires are an element, but it’s not the only supernatural element in the movie. The film is about more than just that.”

Jordan’s performance was Oscar-worthy, playing two twins with distinct characteristics and emotions was impeccable. Canton did an amazing job as well, using his powerful voice in the scenes needed. The cast was great, with highlights from Delroy Lindo, Wunmi Mosaku and Hailee Steinfeld; all-around great cast.

This film was important. A period piece sharing the meaning of music in Black culture and its ties and connections to the roots of past and present. Overall, a stunning, wonderfully shot and directed film that earns five out of five stars.

It’s so important for Afro-surrealism to exist. Afro-surrealism gives Black artists and storytellers the path to express the unearthed truths in the world that can be unexplainable. It’s for us. The genre is a meaningful way to tell Black experiences.

Afro-surrealism is a meaningful term that tells the truth about the world we live in through dream-like sequences. You should watch “Sinners” in theaters and enjoy unwrapping its historical, supernatural-like Afro-surrealism feels.

Keep watching, keep celebrating and keep supporting Black cinema.