Director Ryan Coogler's latest film, "Sinners," transcends the typical vampire horror genre by immersing viewers in the rich cultural tapestry of 1930s Mississippi. At its heart, the film uses the soulful sounds of the blues—once derided as "the devil’s music"—to delve into the lives of its predominantly African-American characters, with Michael B. Jordan brilliantly portraying twin brothers Smoke and Stack.

As noted by Eric Goldman in his glowing review for IGN, "Sinners" pulses with music, starting with the blues performed by Sammie (Miles Caton) and the respected local musician Delta Slim (Delroy Lindo) at the brothers' establishment. Coogler masterfully uses this setting to explore how music connects people across generations, reflecting a shared heritage that often goes unnoticed. The film also introduces a captivating parallel through the charismatic vampire leader Remmick (Jack O’Connell), whose Irish folk music roots weave into the narrative, enriching the film's exploration of cultural and colonial histories.

Both African-American blues and Irish folk music are spotlighted in stunning set pieces that, as Goldman describes, render "Sinners" "musical adjacent." These sequences not only enhance the film's atmosphere but also underscore how music echoes through time, immortalizing the artists and their stories.

In an exclusive interview with IGN, Coogler discussed the significance of blues and Irish music in "Sinners," the film's memorable musical scenes, and his personal connection to the vampire villain Remmick, which he compares to his experience writing Killmonger for "Black Panther."

Ryan Coogler: Blues music represents an affirmation of the full spectrum of humanity for these characters. It's intertwined with the church, which is why it carries a certain genre of music. It's some of the earliest music known in the United States, often labeled as the "devil's music." While the church focuses on the soul, blues music embraces the whole body, acknowledging the flesh's pain, desires, and emotions. It's a rebellion against the oppressive conditions these people faced, yet it also celebrates the beauty and complexity of the human condition. In a juke joint, people can be their true selves, expressing desires and identities that might be suppressed elsewhere.

IGN: What’s your read on the vampire community? They bring all these people of different races and backgrounds together but now they’re a collective rather than individual. There’s probably a lot of ways people could interpret what that means.

Ryan Coogler: I love this movie and aim to present it as raw and authentic as possible. Once it's released on April 18th, it belongs to the audience, and their interpretations are valid. Writing Remmick was a deeply personal experience, much like creating Killmonger for "Black Panther." I wanted Remmick to be a master vampire, exploring the dynamics of leadership and group formation in a fresh way. His character challenges racial stereotypes, presenting one image while embodying something entirely different, which was exciting and new.

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26 ImagesIGN: My two favorite sequences in this movie are the two big showstopping musical set pieces. The juke joint one and then the vampires get theirs too.

Ryan Coogler: Those scenes are central to the film's theme of fellowship and love. They reflect the rebellious spirit against oppressive structures that sought to suppress these expressions. The juke joint culture developed out of necessity and defiance, allowing people to find joy and connection in a time of limited freedom. The Irish step dance, similarly, was an act of rebellion, and its stiffness is a testament to the restrictions it faced. For Remmick to find himself in Clarksdale in 1932, it's about where he feels a sense of belonging and community.

IGN: The juke joint sequence is particularly amazing because it's staged as a one-er. You're playing with time, and you're showing the cultural crossovers too. Visually, you're showing us how music is timeless, or at least what it brings out in people is timeless. At what point did you realize you wanted to play with time in that scene?

Ryan Coogler: The idea came during the writing process, realizing that vampirism alone wasn't enough. I wanted to capture the transcendent experience of witnessing a virtuoso performance, a universal human feeling. Through cinematic language, I aimed to convey that sense of being transported out of one's body, a feeling often described with phrases like "tearing the house down" or "blowing someone away." The juke joint culture of the 1930s was a response to the denial of freedom, and through music, these people could connect with future generations.

Sinners Gallery

12 ImagesIGN: There’s that second tour de force musical set-piece later, and it's from the vampires’ perspective using traditional Irish folk music.

Ryan Coogler: Irish music embodies a hidden contrast, like the energetic "Rocky Road To Dublin" telling a heartbreaking story. This contrast is a hallmark of both Irish folk and delta blues music, reflecting the struggles and resilience of people forced into poverty and oppression. At funerals, both African and Irish cultures dance amidst sorrow, embodying a shared spirit of resilience and celebration. Remmick, despite his differences, connects deeply with these people because he understands their struggles intimately. That connection was what fueled our excitement in making this film.

IGN: Have a party.

Ryan Coogler: Absolutely, we don't let them see us cry. We have songs with hidden meanings, a way to express ourselves under the watchful eyes of oppressors. That's the essence of "Sinners," and it's what filmmaking is all about.