When Sinners recently received a record-breaking 16 Oscar nominations, the response was overwhelmingly celebratory, but not uncomplicated.

The nominations capped a year in which the film had already defied expectations at the box office. An original horror film with no built-in franchise, Sinners broke multiple domestic and international records and earned more than US$300 million during its theatrical run.

Critics also responded strongly, praising Ryan Coogler’s direction and the film’s blend of spectacle and social commentary. Those reviews helped cement Sinners as both a commercial hit and a critical success.

Sinners doesn’t resolve longstanding debates about Black recognition or racial equity in Hollywood. However, its nominations arrive at a moment that suggests wider audience interest — and possible film industry openness — to Black films that are culturally specific, formally ambitious and uninterested in proving their importance through suffering alone.

The Academy of Motion Picture Arts and Sciences — the group of just over 10,000 film industry professionals who vote on Oscar nominations and winners — has long grappled with how to balance popular success and its self-image as an arbiter of artistic excellence.

In the wake of declining viewership, the academy proposed a new category in 2018 for “Outstanding Achievement in Popular Film.”

The plan was met with significant backlash from commentators who were offended by the implication that commercially successful films couldn’t also be great art. The idea was shelved amid concerns that it would undermine the Oscars’ standards instead of bridging the gap between popular taste and critical recognition.

Sinners is not a traditional prestige drama designed for the awards circuit. It is a piece of work that refuses easy classification, blending elements of horror, musical, Southern Gothic and Black folklore into a form........

© The Conversation