On March 15, 2026, Ryan Coogler made history by becoming the second Black filmmaker to win the Oscar for Best Original Screenplay. To accomplish such a feat, on arguably one of the biggest and most revered stages in film, is nothing short of a testament to Coogler’s budding brilliance. A Black filmmaker hasn’t won Best Original Screenplay since 2018, when Jordan Peele won for his prodigious film “Get Out.”
The Oscars held its first recognition ceremony in 1929, nearly 100 years ago, so how is it that we are only just beginning to see Black filmmakers acknowledged for their efforts?
As Joe Morton said in Shonda Rhimes’ “Scandal,” “You have to be twice as good to get half of what they have.” The story of the Black man’s life. And now, in comes Coogler, a dream realized — the future of Black filmmaking and the quintessence of Black fortitude.
Coogler’s Background
Growing up, Coogler didn’t have lofty dreams of making movies — Coogler had dreams of being a football player. He took his blossoming talent to his version of “South Beach,” Saint Mary’s College of California in Moraga, Calif. His college was located just 30 minutes away from his hometown of Oakland. Going into school, Coogler had his sights set on making it pro, which came with a strenuous practice and game schedule, as he was seeing significant amounts of playing time. As a chemistry major, the balance between Coogler’s classes and football was exceedingly disproportionate and became a hindrance. He was on the cusp of failing out of chemistry when he decided to take what he called an “easier” class. That class changed the trajectory of his life.
He got to his first day in creative writing class with Professor Rosemary Graham and one of the first things she talked about was how football was “barbaric” and that we shouldn’t obsess over it. Despite being a football player himself, Coogler appreciated her candor and wanted to impress her. The class’s first assignment was for students to write about an emotional time in their lives. Coogler wrote about a recent time in his life, from his senior year of high school, when his dad’s health was at risk.
Shortly after that, Professor Graham called in an unassuming Coogler to talk about his paper. She told Coogler the paper was one of the best she’d ever read and suggested that Coogler think about pursuing a career in writing screenplays. I think you know how this story ends. Coogler would go on to begin making short films and writing for films, which ultimately landed him an introduction with Forest Whitaker — yes, the Forest Whitaker — planting the seeds for what would become a fruitful career in cinema.
Cinephile talk
“What happens when a former athlete becomes a creative and continues thinking like an athlete?” James Nwobu asks in a TikTok. You get an unparalleled work ethic and you don’t just play the game; you win. Seeing Coogler on that Oscar stage with a Black-dominated cast was the ultimate win.
Coogler’s first win came with his directorial debut, “Fruitvale Station.” “Fruitvale Station” follows a young Oscar Grant, whose life was taken early at the heavy and negligent hands of police brutality. In an interview with Coogler, Sam Fragoso from “Talk Easy with Sam Fragoso” says, “When I watched (Fruitvale Station) for the first time, it felt like a cautionary tale.” Fragoso laments, “But when I rewatched it this week, it felt like a prophecy.” Led by a young Michael B. Jordan and cosigned by Forest Whitaker, the film had less than a million-dollar production budget. That film went on to gross over $17.4 million at the box office. With faith the size of a mustard seed, Coogler began to see “this could be a career for [him], if it would have [him].”
After seeing the unprecedented success of “Fruitvale Station,” Coogler got the green light for the “Creed” series, a thoughtful continuation of the “Rocky” franchise. The films follow the life of Adonis Creed, the son of Apollo Creed, in the “Rocky” series. Adonis is played by Jordan (Coogler’s leading man), who has talked at length about Coogler’s expertise and his ability to breathe life into projects.
Cue the Marvel Cinematic Universe (MCU) and “Black Panther.” Unequivocally, the film that put Coogler on the map, with a $200 million budget, it grossed over $1 billion at the box office, one of the highest-grossing films of all time. “Black Panther” was the first live-action film in the MCU with a Black leading actor, starring the late Chadwick Boseman. With a soundtrack by Kendrick Lamar and a supporting actor in Jordan, it’s clear Coogler was being intentional in all of his stylistic choices.
Not only was the film nothing short of amazing, but the characters weren’t stricken with suffering and misery. So often we see Black films bogged down with trauma and hardship, Coogler so beautifully portrayed Black joy, and through T’Challa, the power of what leadership can do in the Black community.
There are so many lines in the film that touch on Black lineage, what it means to take your seat at the table and step into your power. It’s clear Coogler didn’t just want to manufacture a Marvel film for his resume; he wanted to create something that reflected Black culture and the nuances of our people. I remember that when the film first came out, my seventh-grade history teacher spent the entire class period analyzing the trailer and what this film would mean for the Black community. Coogler had us all dreaming bigger and wanting to visit the utopia that is Wakanda.
Coogler’s most recent victory with the 16-time nominated and four-time Academy Award winner “Sinners.”(Surpassing the all-time record for most Academy nominations of 14). This film is the culmination of over a decade of ground-breaking work by Coogler.
Before stepping on a set, Coogler sought “final cut” or full creative control, up front payouts and full ownership of the film, reverting back to him after 25 years. Warner Bros. obliged and handed Coogler a $100 million budget for a period horror film. The film amassed astounding success at the box office, grossing $340 million globally.
The film is set in Mississippi during the Jim Crow era and depicts just one tumultuous day. Jordan plays not one, but two characters in the film, twins Smoke and Stack. Watching the film, you won’t even register that the twins are played by the same man, which speaks to the unmistakable caliber of Jordan’s talent, who went on to win the Academy Award for Best Actor. “Sinners” is not just a “vampire film” as Coogler puts it on the Talk Easy podcast, he wanted to “bring our stories to life.”
The film set the cinematic community ablaze because of its layered nature. “Sinners” tackles commentary about the indoctrination of Christianity, the implications of racism in the Deep South and heritage. In the film, Delroy Lindo’s character, Delta Slim, notably says, “Blues wasn’t forced on us like that religion. We brought this from home.” “Sinners” is a nod to the origins of Blues, as well as an artistic manifestation of the emotional and physical hardship endured by Black people. With “Sinners,” Coogler demonstrates the prestige of a victor and points to his ability to cultivate success on his own volition.