demonstrating the Power of the Black Dollar: sinners
Narrow is the gate—and there is only one Way! Matthew 7:14
I’m writing this blog because of all the hype surrounding the movie Sinners by Ryan Coogler. Everywhere I went, people were asking, “Have you seen it yet?” After its release, social media was flooded with clips, commentary, and deep dives into the film’s symbolism. People were highlighting key scenes, analyzing the hidden meanings, and praising the cast.
Now, I’m not giving this film a standing ovation, but I do think it’s worth the price of admission. More importantly, I encourage everyone to see it for themselves, especially if you’re looking for something that’s a little political, a little spiritual, and still entertaining enough to enjoy with a bucket of popcorn. Whether you love it or leave confused like I did, Sinners is definitely worth joining the conversation.
So let me share my honest thoughts.
I walked out of the theater feeling conflicted. The movie had beautiful cinematography, rich costume design, and a powerful soundtrack. That part I loved. The visuals were excellent, and I especially appreciated the moment when the ancestors appeared. That scene had depth. It pulled me in spiritually, even though I had some issues with how it was handled.
But the storyline? That’s where the film lost me.
Some scenes felt disconnected or overly symbolic without clear meaning. The plot wove together themes of hoodoo, African spiritualism, and Christian theology—particularly Jesus Christ. I’ve heard others comment on how this blend was intentional, setting up a kind of spiritual battle between African ancestral practices and Western religious beliefs.
Forewarning: If you haven't seen Sinners yet, I’m about to give away the ending—so you may want to pause right here.
At first, the characters felt a little blurred together, but as I continued watching, I began to understand who was who. The preacher’s son was Sammie, and the twins in the movie were Smoke and Stack. The rhythm in those names is simply graceful—it flows, it goes, and it makes you think. Sammie was just a regular young man with a dream. Smoke was the one who connived and contrived. Stack was the slick-talking slickster. It’s gangster.
Sammie—the “chosen one”—was the only person who survived. But even if we accept him as chosen, I was left wondering: chosen for what? There wasn’t clarity around the purpose. What was missing were the pieces between Sammie on that road in the car and his arrival on the jazz scene. I suppose that’s what the sequel is for. Still, the fact that I want to know more—that’s the mark of true art.
But beyond the plot and symbolism, what really stood out to me was how the film portrayed love—especially through the women.
The love scenes in Sinners were layered and complex—some tender, some tragic, some deeply flawed. Each woman represented a different kind of love, or perhaps a different kind of sin.
Mary, the passing woman—Stack’s former lover—was torn between racial identity and personal longing. Her love came with resentment and regret. And of course, there was that lustful kind of love—a woman who wanted to be white and yet still clung to her Blackness. It felt like a play on School Daze, an unspoken nod to the way colorism and identity show up in desire. Her character embodied a yearning that was both racial and romantic, both tragic and sharp.
Pearline, the juke joint singer, was the Jezebel of the film—the married woman who takes away the innocence of a boy. Maybe that went too far, but the symbolism was hard to ignore. Pearline didn’t just seduce Sammie; she disrupted his path. Her allure was powerful, but her role felt like a test of Sammie’s spirit more than a romantic arc. She made his survival more complicated and morally charged.
And then there’s Grace Chow. I honestly don’t know what to say about her character in this movie. Another problem. But I’ll leave that right there.
Annie was the first woman we meet with a deep, enduring love. Her connection with Smoke wasn’t just romantic—it was spiritual, ancestral, and rooted in pain and survival. One of my favorite scenes in the entire film is at the end, when Smoke sees Annie holding who I imagine to be their daughter. That moment pulled me in. It was tender, haunting, and full of meaning. I only wish the film had made it clearer that Smoke was dead and transitioning from this life into the next. Maybe that’s the point, though—leaving us to sit in that space between knowing and feeling. Either way, it was a powerful way to close out his story, and it reminded me just how layered Black love can be, even in death.
“A slave who cannot assume his own revolt does not deserve to be pitied. We do not feel sorry for ourselves, we do not ask anyone to feel sorry for us.”
If I have to be honest, the fact that everyone died but Sammie lived felt hollow. If everyone else dies and he lives, I questioned what the deeper reflection on redemption or purpose was. I wasn’t sure what his survival actually represented. The ending felt vain, almost meaningless. It made the movie feel futile, like a story set up to go nowhere.
The film boldly flirted with racial themes—oppression, slavery, Black and white tensions—but those threads were not fully explored. In the end, everyone was a sinner. Everyone had to die. So I was left questioning: who was the worse sinner—Black or white? Was the film saying we’re all equal in sin, or was it just leveling the playing field without making a real point?
There were also scenes that confused me cinematically. For example, when the Black characters became vampires and started dancing, I couldn’t tell if that was symbolic of slavery, spiritual bondage, or just a stylized moment. Were they free? Were they possessed? Or were they just part of the spectacle? Then the fight scene felt like too much—overly chaotic, with hard stops that made it feel like someone was slamming on the brakes. The film didn’t offer much clarity, and that ambiguity made it hard to fully connect.
I only say all that to make it clear: I’m not trying to glamorize this movie. There were significant flaws—gaps in the story, missed opportunities, and scenes that left more questions than answers.
Still, here’s what I absolutely loved: Black folks showed up for this movie. We packed theaters. We supported this film in ways that matter—financially, socially, and culturally. And that kind of unity made Sinners a box office success. That’s powerful, especially when you look at how major studios are struggling. Disney’s Snow White reboot flopped, but here we are, making Black films trend.
That’s the part that makes me proud. Even when the movie didn’t hit every mark, our presence showed what Black support can do. Black talent is magnetic. We don’t always realize the engines we’re capable of driving. Sinners wasn’t perfect, but it sparked a conversation, and more importantly, it reminded us of our power when we show up for each other.
And let me say this too: Ryan Coogler made a bold move. He struck a deal to keep ownership rights to the film. It was a risky decision, but one he made because of his belief in his work. In hopes of creating a franchise, he created something he knew would move the Black community.
So no, I didn’t love Sinners. But I loved what it represents. I loved the community around it. And I love that we, as a people, are pushing forward in spaces that weren’t built for us, yet we continue to leave our mark.
________________________________________________________________
© 2025 Jacqueline Session Ausby. All rights reserved. This post and all original content published under DahTruth are the intellectual property of Jacqueline Session Ausby. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means without the prior written permission of the author.
