In an era where digital dominates, Autumn Durald Arkapaw made cinematic history by shooting the upcoming film Sinners on 65mm IMAX—the first woman cinematographer to do so. Directed by Ryan Coogler and starring Michael B. Jordan in a dual role, Sinners is a hypnotic blend of Southern Gothic horror, Black cultural legacy, and musical transcendence—all captured with a richness that only celluloid can deliver.
Arkapaw was deep into preparations for The Last Showgirl when Coogler sent her the script for Sinners in January 2024. “I was blown away,” she recalls. “It was the kind of script you just can’t put down.” What started as a plan to shoot on 16mm quickly evolved after Coogler and Arkapaw tested 65mm IMAX in the desert, inspired by films like The Hateful Eight and 2001: A Space Odyssey. The moment Coogler saw the test footage projected in 70mm, he knew:
“This is what I’ve been missing”
Set in 1930s Mississippi, Sinners follows twin brothers Smoke and Stack (both played by Jordan), who open a juke joint that becomes a beacon not just for music lovers—but for something much darker. Their cousin Sammie (Miles Caton), a pastor’s son with a soulful gift, becomes the heart of a pivotal sequence known during production as The Surreal Montage.
The scene begins grounded in realism but soon explodes into an otherworldly celebration of Black musical history. With tribal dancers, electric guitarists, and hip-hop DJs fused into a single euphoric moment, Arkapaw’s Steadicam glides through the juke joint like a spirit itself—capturing movement, fire, music, and memory in five breathtaking shots.
“We lit mainly from above,” Arkapaw explains, “so the camera could move freely in that ultra-wide format.” The lighting team used practicals—lanterns, string lights—within the set built by production designer Hannah Beachler, ensuring the environment felt real for the actors. “It sets a vibe,” says Arkapaw.
“That authenticity comes through in the performances”
The technical ambition was matched by emotional depth. “When the camera tilts down and reveals the burned mill—but the people are still there, still singing and dancing—I get emotional,” Arkapaw says. “
“It means nothing can be taken from us. That spirit remains”
Shooting Michael B. Jordan as identical twins was another challenge. “We wanted to keep it grounded,” Arkapaw notes, using split-screen, minimal face replacement, and occasional machine learning via halo rigs. But the pressure was on Jordan.
“He had to repeat these performances multiple times under tight timeframes and lighting constraints”
The cinematographer sought advice from Hoyte van Hoytema, the visual mind behind Oppenheimer, also shot on 65mm. His advice? “Drive it like you stole it.” That stayed with Arkapaw. “It’s actually more invigorating photography. The weight, the format—it didn’t slow us down. It made us bolder.”
In every frame of Sinners, you feel the weight of legacy and the thrill of innovation. From soulful guitar strings to smoldering cinematography, the film is a testament to the power of storytelling—on every level.
