
‘Sinners’ trailer: Michael B. Jordan reunites with Ryan Coogler for period vampire flick
The Hindu
Ryan Coogler's vampire thriller "Sinners" starring Michael B. Jordan marks a highly anticipated return with an original story.
Ryan Coogler has unveiled the first trailer for Sinners, a vampire thriller starring Michael B. Jordan. The highly anticipated film, set for release by Warner Bros. on March 7, 2025, marks Coogler’s return with an original story.
In the trailer, Jordan’s character, Smoke, delivers a haunting voiceover: “I’ve seen men die in ways, I ain’t even know was possible...I ain’t ever seen no demons, no ghosts, no magic — ’til now.” As the tension builds, a preacher warns, “You keep dancing with the devil, and one day he’s going to follow you home.”
The film follows twin brothers, both played by Jordan, as they return to their hometown to escape troubled pasts, only to discover a greater evil awaiting them.
Coogler wrote and directed Sinners, which also stars Hailee Steinfeld, Jack O’Connell, Wunmi Mosaku, and Delroy Lindo. This marks another collaboration between Coogler and Jordan, who have previously worked together on Fruitvale Station, Creed, and Black Panther.
With Sinners, Coogler brings an original vision to the screen, offering fans a departure from his previous work on well-established franchises.

The ongoing Print Biennale Exhibition at Lalit Kala Akademi, Chennai, unfolds as a journey far beyond India’s borders, tracing artistic lineages shaped by revolution and resistance across Latin America and nNorthern Africa. Presented as a collateral event of the Third Print Biennale of India, the exhibition features a selection from the Boti Llanes family collection, initiated by Dr Llilian Llanes, recipient of Cuba’s National Award for Cultural Research, and curated in India by her daughter, Liliam Mariana Boti Llanes. Bringing together the works of 48 printmaking artists from regions including Mexico, Cuba, Argentina, Brazil, and Chile, the exhibition is rooted in the socio-political upheavals of the 1980s and 1990s. It shows printmaking as both a political and creative tool, with works that weave stories across countries and continents.












