African and African American Spirituality in _Sinners_
With the awards ceremonies the last few weeks heavily favoring the film _Sinners_, I decided to share my paper on the film from my course, Black Church Studies 765, at Duke Divinity School in August 2025. Dr. Eric Williams led the class, and I had a great preceptor, too. You can find Dr. Williams here:
https://www.instagram.com/ericwilliamsphd?igsh=ZWh0ZGJkYWhqYTM1
My paper is a bit dry, but hang in there. If you're not really into vampire movies, try watching Sinners and stopping the film each time you recognize a historical or cultural reference -- you'll still see a great film, but the scary music will be less scary, and the visuals will be easier to handle. Apologies to the cast and crew for chopping up their art this way, but, really, by putting out such important work, they asked to be analyzed. Here we go!
Filmmaker Ryan Coogler’s Sinners is a rich film that delves into conversion themes as characters face good and evil both within themselves and just outside the door. The film questions whether or not conversion to good or evil is possible, and challenges that question by exploring a veil – an ephemeral or cosmological space – between the two. The work also seamlessly allows themes from the course to perechoretically dance together as the plot unwinds, and it does so without drawing attention to or even naming themes like trauma, ancestral connection, mysticism, migration, music, transcendence, materiality, cosmology, and percussivity. Coogler accomplishes all of this while placing the theme of conversion within a framework of competing cosmologies.
Sinners is a film that I almost talked myself out of viewing because of the opinions of others. Sho Baraka in Christianity Today speculated about the horror aspects of the vampire film and the characters’ infidelity of spouses by implying that scenes would “make your marriage counselor blush,” while “upsawkward,” a Reddit poster on r/TrueFilm, expressed disappointment in Coogler’s treatment of original horror genre threads that Coogler left unresolved in the film. These two views notwithstanding, Sinners has achieved critical acclaim and international success, making $45 million on its opening weekend. As a now-mature latchkey kid who grew up accustomed to violence and sex in film due to access to cable television and video tapes, I wondered how much more compounded would be the provocative and spiritually shaken media of 2025 to meet the needs of an even more jaded modern audience. I nearly folded and chose a different film, but upsawkward’s disappointment need not have been mine, and besides – a fellow student urged the class to watch, saying, “The violence is the point.” In response to and out of respect for her comment, I viewed a film that neatly touched on a multitude of themes covered in Black Church Studies 765, (and seemed mild compared to both violence and sex depictions from the 1980s film industry).
Sinners was written, produced, and directed by Coogler and debuted in 2025. Coogler’s production company is Proximity Media, and distribution rights for Sinners were acquired by Warner Bros. Coogler’s previous film successes include Creed and the Marvel-based Black Panther films. Sinners deals with repercussions of the Depression-era South under Jim Crow laws within the horror genre of a vampire film. Twins “Smoke”/Elijah and “Stack”/Elias who are African American former US soldiers, return after seven years from Chicago’s gangster land to their hometown in Mississippi where they left a cousin, Sammie, and partners Anne and Mary. The brothers plan to capitalize on a juke joint, but the Ku Klux Klan and an Irish vampire interrupt their plans. The first two-thirds of the film is spent in character and plot development, and the final third descends into horror and vampire lore. The film, produced in Louisiana, received critical acclaim and has grossed $365 million since April 2025.
This film’s cinematic portrayals of plot and character development draw in a viewer. Coogler’s attention to historical details and the way he encompasses main themes found within African American spirituality practices makes this film optimum viewing at our course completion.
The twins seem to drive the plot (they are literally driving to and fro), but the various plot points come together to hinge on Sammie, the ultimate preacher’s kid who straddles the line between saved and sinner. Sammie sits, as a musician whose craft cosmically reaches across time, between the veils of life and death and good and evil, with Christian church music portrayed as life-giving good, and Blues music in juke joints portrayed as death-dealing bad, or with daylight “equality” portrayed as good, but with klan members hooded under a veil as bad. Sammie simultaneously sees through the “veil,” in the sense of having a double consciousness as described by WEB DuBois. Each of the main characters wrestles with this concept of double consciousness where they view themselves as others see them, but Coogler pulls the focus directly to Sammie. As my thesis, I contend that Sammie does not convert in an outward way, choosing neither good nor bad. He does not answer definitively either his preacher father’s call to conversion, nor Stack’s/Elias’s invitation to be immortally evil as a vampire. However, Sammie does attain theologian James Cone’s concept of “fellowship with God” as the “beginning and the end of human liberation” by performing his music and communing cosmically. Sammie finds liberation in his music. Figure 1, from the film, offers a visual description of my thesis that Sammie begins and ends unconverted. Figure 1 also represents the theme of mysticism described later:
Scholar Luther E. Smith says, “Unless rooted in religious experience, the work of liberation and reconciliation will never realize its potential.” The characters in Sinners vacillate between seeking liberation and reconciliation and defining the values of religious experiences. Did Sammie have a religious experience? In the sense of a Christian conversion, we do not witness this type of experience; one could argue that his flashback to singing “This Little Light of Mine” in church combined with his final entrance into his father’s Christian church sandwich his trial by fire and water with the vampire, Remmick; this sandwich structure could imply that he was converted to Christianity overall. However, we do see Sammie traveling away from the church with the guitar his preacher father implored him to drop and forsake, and we witness his later Blues music career. A conversion to Christianity, due to religious experience, is not certain. Did he have a different type of religious experience, one that hearkened back to ancestral or pre-ancestral spirits and involved hoodoo and personal struggle? We do witness this experience in the film, and using Smith’s description, liberation and reconciliation could be accomplished by Sammie, depending on which interpretation of his experience you choose.
We see several instances of conversion beyond that discussed for Sammie. The murdered white woman-turned-vampire, Joan, sings a conversion song, “After we kill y’all, we’re gonna have heaven on earth.” This conversion song promises that, in evil, the sinners at the juke joint will have freedom from racism, poverty, and Christianity’s delayed heaven. Near the climax, we see Sammie being (anti-)baptized by Remmick, leader of the vampires, in the pond outside the mill in the dark of night in dark water. Remmick near drowns Sammie repeatedly and mocks the Lord’s Prayer. This scene contrasts with the church shown at the beginning and at the end of the long day in the film. The church is bright in daylight; it offers a choice of baptism into Christianity with entrance into the good and sin-free afterlife. This visual contrast brings to mind C. Eric Lincoln and Lawrence H. Mamiya’s concept of the value of the black sacred cosmos. They write, “No person can serve two masters” and “God wants you free.” For Sammie, “unfreedom” risks salvation. Sammie is struggling, caught between the world of Christianity and the world of demonic vampires. Coogler’s mastery in Sinners gives the lyrics to an old Spiritual a new facet: “Before I’ll be a slave I’ll be buried in my grave and go home to my father and be free.” Before Sammie could be a slave to Remmick’s vampirism, he was being buried in a water grave, hoping to be free.
Touch points on Coursework Themes
In the interest of space, I quickly note other points in the film that converse with our coursework. We see trauma as the character Delta Slim remembers his friend being lynched, referring to a singular event that was repeated so as to be a collective trauma. We see Anne and Smoke remember the death of their child. For the theme of migration/transmigration, we learn that Smoke and Stack went to Chicago for seven years, reminiscent of the Great Migration north in the 1920s. Seven is also a biblical number for completion, as of the space of a lifetime lost or reinvented. The theme of ancestral connectedness is seen as Smoke visits his papa’s grave site on which stones and bottles have been place. Anne performs a ritual for Smoke’s safety, incorporating non-Christian actions and beliefs likely indicating a connection to previous beliefs or ancestors.
In addition to trauma, migration, and connectedness, we see Coogler’s impressive use of music to convey themes of spirituality. Delta Slim intertwines this connectedness with the theme of music, saying, “blues [were] brought with us from home, not forced on us like religion.” He also said, “Music heals our people, and we be free.” Freedom is linked to conversion, as described above, and Coogler’s use of music as a conduit for freedom and Christian salvation, or for the entrance of evil and the tying of souls to the undead, is masterful. Coogler also uses music to interact with the theme of transcendence with the line, “My daddy told me, he said, ‘The devil is coming on account of my music.’ ” This connection, again, relates to a position between the veils of good and evil, where there is no conversion.
Materiality played a big role in the film, just as it does in African American spirituality. Scholar Tiya Miles writes, “Beyond the critical role of communicating information, things function as tokens and repositories, as staples in the fabric of time, as a means to effect psychological, emotional, and existential transport or to ‘convey viewers to another world or state of being.’” In Sinners, we see materiality in Smoke’s protective mojo bag, in the wooden pennies used to pay for drinks at the juke joint, and in the ways the twins used money. Sammie’s guitar plays a large role in Coogler’s film, pulling in alternate cosmologies into the materiality of the instrument. I argue that in the water scene, Sammie can be seen swinging the guitar like an axe to cut the “storm” – the evil Remmick – in two. This imagery shows the guitar slowing or ending the evil, which is a form of hoodoo described by Albert J. Raboteau in “Death of the Gods.” Swinging the wood to pierce a vampire could be a form of this, as well, although driving a wooden stake into a vampire’s heart is a conventional trope.
Sinners embraced the cosmologies of the Irish, Native Americans, and Africans, all of whom share a belief in evil spirits. Remmick, an Irish vampire, has the Lord’s Prayer memorized. Anne, already identified as outside of strict Christianity, performs a ritual, saying, “Soil of my soil, bone of my bone, blood of my blood, I bless you. Ashé.” Her ritual, like Christian rituals, uses the lighting of candles and the pouring of oil. We see Native American interaction with supernatural spirits in the scene with Joan who had invited Remmick into her home, having thereby given him permission to attack her. Coogler intertwines the cosmologies of the white Southerner with the Native Americans, who pray for Joan, saying, “God have mercy on your soul.” Coogler strikes a contrast between Christianity as understood by the characters, and a Christianity Remmick reinterprets. A cosmology with God in heaven, humans on earth, and the devil or demons below in hell is juxtaposed against a realm where all three are connected in all times and places.
Much of Sinners deals with the theme of transcendence, such as when Remmick drops into Mississippi from a different plane, and when musicians of different ethnicities and centuries sing and dance together during Sammie’s “I Lied to You” song. Delta Slim, who has lifted the veil in the past by escaping a vampire, sacrifices himself and transcends this side of life for the other. Using another movie-ending trope, Coogler has Smoke reach out to hold his deceased nursing baby as he transcends life for death. Perhaps the best example of this theme is that the characters help the victims (through use of the wooden stakes) to separate their souls from the bodies of the vampires and from the bodies of the KKK members (through Smoke’s First Blood imitation showdown). With Coogler’s obvious correlation between vampires and KKK members to demons, the two battle scenes released all souls to go where they would.
Transcendence is related to mysticism, and Coogler dips into this theme with Sammie, Delta Slim, Anne, and Smoke. Sammie is a mystic from beginning to end. We learn that Delta Slim had mystic tendencies with his previous vampire experience. Anne’s hoodoo knowledge makes her a mystic, and allows her to help the characters use garlic as a form of protection. These points are made obvious by Coogler, but the twinning of Smoke and Stack is more subtle. In touch with ancestral connectedness, the theme of mysticism sees twins as one soul in two bodies as a means of protection. Throughout the film, Coogler adds to the plot development with percussivity heard in a rattlesnake rattle, in the juke joint set up, in the blues with added guitar, then harmonica, in a field holler work song (“Raleigh Can’t Hold Me” sung by prisoners), and in Delta Slim’s painful retelling of his friend’s lynching. Delta Slim taps on the door and hums to cope with the memory. The final fight scene is permeated with rhythmic drumming through which spirituality is carried.
Note: this scene shows violence
Final notes related to a Christian theme that bear further analysis include:
a. Black people were encouraged to serve the country in World War I, but they were segregated in the army and sent into the worst battle conditions; when they returned, they returned to Jim Crow, poverty, and Klan racism. Smoke is a soldier getting back at the Klan.
b. Stack and Mary are either “haints,” as the dead are described by Anne, or saints, depending on which side of the veil they are on. Their names are significant in Christian cosmology as being prophetic servants of God. Coogler uses them in a manner opposed to Christianity as they invite the elder Sammie to go to the “bad” side.
c. The Asian character, Grace, is aptly named, as she saves the town by forcing a showdown out at the juke joint. Her death was different than the others – we see her burning like imagery of the burning bush, with fire consuming an evil other as she is consumed.
A basic Christian interpretation of Sinners could settle on the idea that what you open your heart to, you invite in. The characters in the film opened their hearts to sin in the forms of licentiousness, greed, murder, theft, and adultery, and by doing so, they first invited in the king of sin, and then died of their sins. Yes, they died and they were all sinners, but did they not deserve redemption? The characters received redemption from the evil – a conversion – when their souls became separated from the demons in their bodies. Sammie, however, remains in the middle, neither on the side of good nor evil, heaven nor hell, and he chooses to remain a mystic between the veil. He attains “fellowship with God,” and attains social and spiritual liberation.
Citations:
Baraka, Sho. May 14, 2025. “ ‘Sinners’ and the Panic-Praise Problem,” Christianity Today https://www.christianitytoday.com/2025/05/sinners-review-ryan-coogler/
Braxton, Greg. April 20, 2025. The Los Angeles Times. https://www.aol.com/sinners-receives-heavenly-reception-during-161049357.html Accessed Aug. 4, 2025.
Coogler, Ryan. 2025. Sinners. Proximity Media
DuBois, W.E.B. The Souls of Black Folk, ed. Herbert Aptheker. Milwood, NY: Kraus-Thomspon Organization, 1973.
https://en.m.wikipedia.org/wiki/Twins_in_mythology
Hurston, Zora Neale. 1981. “Shouting,” in The Sanctified Church, Berkeley, CA: Marlowe &
Company, 137 pages
Kugler, Michael. June 25, 2025. “Sinners: Vampires, Blood, and the Conquest of Death,” https://reformedjournal.com/2025/06/25/sinners/ Accessed Aug. 4, 2025
Miles, Tiya. 2021. All That She Carried: The Journey of Ashley’s Sack, A Black Family Keepsake https://lithub.com/how-the-survivors-of-slavery-used-material-objects-to-preserve-intergenerational-wisdom/?utm_source=Sailthru&utm_medium=email&utm_campaign=Lit%20Hub%20Daily%3A%20June%2010%2C%202021&utm_term=lithub_master_list&fbclid=IwAR0X4SFhD0BtU9Cv28IoibGx_Ixz2JM5nWd6vJnnSmUf10k_NnaGAycQY24 Accessed on Aug. 4, 2025.
Noel, James A. and M. V. Johnson, 2005. “Psychological Trauma, Christ’s Passion, and the African American Faith Tradition,” Pastoral Psychology. Vol 3, No. 4.
Lincoln, C. Eric and Lawrence H. Mamiya. "The Religious Dimension: 'The Black Sacred Cosmos'." pp 32-37.
Raboteau, Albert. "Death of the Gods," in African American Religious Thought: An Anthology, ed. Cornel West, Eddie S. Glaude Jr. Louisville: Westminster John Knox Press, 2003
Upsawkward, July 2025. https://www.reddit.com/r/TrueFilm/comments/1m8uibx/i_kind_of_felt_betrayed_by_sinners_2025_and_am/
Accessed on Aug. 1, 2025
Walker, Noland. 2003. “This Far By Faith,” PBS, shown in Lecture, Duke Divinity School, May 21, 2025.
Williams, Eric. May 2025. Lecture at Duke Divinity School.
Williams, Chad. Feb. 19, 2018. W. E. B. Du Bois, World War I, and the Question of Failure
https://www.aaihs.org/w-e-b-du-bois-world-war-i-and-the-question-of-failure/#:~:text=He%20vocally%20encouraged%20Black%20participation,a%20patriotic%20American%2C%E2%80%9D%20Du%20Bois Accessed on Aug. 4, 2025.