Almost exactly a year ago, reports on Blood & Sinners, the latest collaboration between director Ryan Coogler and actor Michael B. Jordan, made the round. Since then, the mysterious secret project has drawn a curious look after the other. With the release of the new trailer, nothing should change. This is where something special comes up.
Blood & Sinners: Ryan Coogler and Michael B. Jorden plunge into their first fantasy horror adventure
Coogler and Jordan have worked together four times in recent years. Strictly speaking, Jordan has so far stood in front of the camera in every direction, starting with his strong debut film Fruitvale Station, the Rocky Continuity Creed and the two Black Panther films from the Marvel Cinematic Universe. With Blood & Sinners, the two dare for the first time in horror realms.
Here you can watch the new trailer for Blood & Sinners:
Blood & Sinners – Trailer 2 (German) HD
Two big keywords were associated with the film early: Vampires and one Double role. The double role has already been officially confirmed: Michael B. Jordan embodies the twin brothers Elijah and Elias in Blood & Sinners. The story takes place in Mississippi in the 19th century, where an outrageous horror is waiting for the two returnees. But are it really vampires?
When Coogler presented the film on Monday at a launch event for the new trailer, he initially carefully danced around the cold beings of the night. In particular, the definition of Blood & Sinners on a specific genre, the vampire film, he tried to avoid carefully chosen words. In his film there are significantly more influences. It is not a vampire film, but a film with vampires.
While with Nosferatu – the undead is one of the most classic interpretations of the vampirmyth, the large screen is conquered, Blood & Sinners mixes other elements, such as the history of the South of the United States. In addition, Coogler, who also wrote the script for Blood & Sinners, was inspired by numerous films that do not have a direct bloodsucker connection.
Blood & Sinners combines the Coen brothers with the horror of John Carpenter and The Twilight Zone
Coogler names the creation of the Coen brothers first when he is asked about his cinematic role models. No Country for Old Men and Fargo act like obvious reference points for Blood & Sinners and of course they are not missing in Coogler’s list. However, it is surprising that he places the greatest emphasis on the tender, sad folk music drama Inside Llewyn Davis with Oscar Isaac.
The next well -known director, whose work Coogler uses as a comparison, is Robert Rodriguez, but also here with a surprise. Of course, from Dusk Till Dawn in the context of vampire stories. However, Coogler was even more catched by The Faculty, who basically is a reinterpretation of John Carpenters Sci-Fi-Horror-Masterwerk from another world.
No matter whether Rodriguez or Carpenter: For Coogler, both films were important columns to find the tone and the mood of Blood & Sinners. Horror that unfolds in a certain place and brings a group of people into trouble – Green Room and Salem’s Lot also go. At the Stephen King film, Coogler emphasizes how something evil creeps the community of a small town.
However, the key to Blood & Sinners is hidden elsewhere. Coogler refers to the greatest inspiration The Last Rites of Jeff MyrtlebankThe 23rd episode of the 3rd season of the Mystery series The Twilight Zone, which was broadcast from 1959 to 1964. In it, a dead man wakes up to new life at his own funeral and puts the faith and understanding of the world around him.
A fantasy horror blockbuster with your own idea: Blood & Sinners should have you on the screen
Coogler also combines supernatural elements with a historic setting. We can be very excited to see what comes out in the end. Blood & Sinners starts on April 17, 2025 in the German cinemas. It should already be clear that the genre mix is an absolute exceptional blockbuster. No sequel, no prequel, no spin-off, but finally an original idea.
Blood & Sinners stands in the tradition of films such as Oppenheimer, which become a leinwand event without a franchise connection. Coogler relies on large, wide pictures that were rotated on celluloid and partly with IMAX cameras. It is the first time since Fruitvale station that he returns to the analog cinema. What irritates him is the closeness that is created by the pictures. Everything looks familiar and fresh at the same time.