Marvel Studios president Kevin Feige is publicly backing Sinners as a Best Picture contender, calling the film one of the most impactful theatrical experiences of the year and singling out its artistry and cultural relevance.
“The music was incredibly meaningful to me, and I told Ryan that my jaw was on the floor,” Feige said to The Hollywood Reporter of the film, which was written and directed by Ryan Coogler. “It should win best picture for that alone.”
Feige added that award bodies do not always recognize films that resonate most strongly with audiences in the moment. “The Academy doesn’t always, in my opinion, recognize the movies that are most relevant for audiences today,” he continued. “But, boy, did they hit it with this one.”
Feige’s comments come as Sinners continues an unprecedented awards run. The Warner Bros. release earned 16 Academy Award nominations, the most ever for a single film, surpassing the previous record of 14.
At the box office, the film has also become the highest-grossing original live-action movie in North America since Inception, released in 2010.
Coogler has spoken openly about the personal stakes involved in making Sinners, which marked his first fully original directorial effort in more than a decade. The film centers on twin brothers who open a juke joint in 1930s Mississippi, blending historical drama, musical expression, and genre elements.
Coogler has said the project was rooted in family history, particularly the influence of his great-uncle, who introduced him to blues music.
“I wanted people to know we were thinking about them — that’s it,” Coogler said of the creative choices behind the film, including a widely viewed video he released explaining aspect ratios and optimal theatrical presentation. “Every time we framed up a shot, we were thinking about the audience in this movie every day.”
He has also described Sinners as a more vulnerable experience than his franchise work, noting that without existing IP to reference, every creative decision came directly from him. “I did feel more vulnerable,” Coogler said in a past interview. “Everything was coming from my own heart and mind.”
In earlier conversations about his career, Coogler has acknowledged struggling with impostor syndrome, particularly after the success of Fruitvale Station and during the production of Black Panther.
Reflecting on lessons learned from working with the late Chadwick Boseman, he said, “I have to see the good in things, see the value in things, and not let impostor syndrome or guilt or negativity rob me of moments with my cast who I love — or with folks who want to say, ‘Hey, good job.’”