By Jasmin Mudiay
”Is the death of movie theaters upon us?” That was a Forbes headline in June 2024, following a wave of theater chain bankruptcies. The blame? Streaming, inflation, and the simple fact that the home-viewing experience often feels better than what theaters offer. Execs insisted the challenge isn’t about finding better films with no real control over what Hollywood produces.. fair. But what if the real answer isn’t just experience, but real cinema?
Last weekend, Sinners debuted, written and directed by Ryan Coogler, and grossed over $71 million in under a week. Why? Because when true filmmaking meets intentional world-building, people show up! Shot on 65mm and Ultra Panavision 70, the film shifts aspect ratios to pull you deeper. The artistry is undeniable. Serving as a reminder: giving visionary directors the keys, allows for genre reshaping, and movie culture itself.
Set in 1930s Mississippi, Sinners follows twin brothers, Michael B. Jordan in a dual role, returning home to rebuild family business. What starts as a mission of enterprise spirals into something far more uncanny. The film plays with realms: the visible one, and the one that lingers beyond it. In one striking scene, ancestral dancing across eras merge on the juke joint dance floor, displaying the diaspora’s layered composition and influence in Mississippi.
The aim of creating a space for their community to gather and celebrate took a dark turn once outside forces began to infiltrate. The film delves into themes of spiritual realms and connections. A recurring motif was the phrase “invite me in,” uttered by characters seeking entry into the space. This served as a metaphor for many to the idea that certain energies or influences require permission to enter our lives, prompting audiences to reflect on the thresholds they maintain and energies they grant access to their inner worlds.