The rapid success of Ryan Coogler’s film Sinners provides an ideal text for analysis through the Africana Studies Disciplinary Framework. As we explore some of the film’s central themes, it becomes clear how both the film itself and responses to it reflect intersections of the Social Structure and Governance Disciplinary Conceptual Categories. Rooted in self-determination—both as a cinematic work and a commercial project—Sinners offers repeated examples of Africana African Ways of Knowing, Cultural Meaning-Making, and Movement and Memory. Through its use of icons, shrines, totems, and rituals, and by blending and at once renegotiating elements of The Blues and Horror as both concept and genre, the film opens a powerful space for commentary on culture, race, allyship, appropriation, resistance, and the varied and at once strikingly similar world senses of African peoples. Sinners contrasts the temporary conditions of our physical existence with how humans imagine the eternal realms from which we emerge and to which we ultimately return.

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