I have never met a vampire film that I didn't like, but not all vampire movies were created equal. At first, vampire myths served as warning stories that warned people of supernatural, often unwanted creatures that celebrate vital essentials, especially blood. Folk stories of creatures have been recorded in cultures around the world, but the term "vampire" has gained popularity in Western Europe during the 18th century, when mass hysteria took place that resulted in carcasses to be stabbed through the heart and living people were linches after they were accused of vampire.

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This inherent "else" meant most of the ways the vampires are shown tend to fall into two categories: An allegory of "Otherness" (aka strangers to be afraid) And misunderstood discharged on the sidelines of panic society. Add this with the seductive sophistication of vampire literature published in the 19th century, and you have the building blocks of every vampire performance from Grotesque "Nosferatu" to the brazen vampire ballerina, "Abigail". In recent years, the romantic (If not upright a container of forbidden sex intrigue) Vampire ruled Supreme, as well as Anna Rice's vampires in "Vampire Interview" AMC's criminally undergoing) or the longing dipped in Mormon by Edward Cullen in the Twilight series. There is appeal for these brands of "others", where to give up the danger is half the party.

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In The stunning new movie by Ryan Kogller "Sinners", Vampires are not tragic figures or agents or allegations of the way the status quo demonizes the oppressed communities, but rather the original hazard of infiltration and assimilation. And for once, they are reflections of the right people who are involved in the behavior of the essence in real life.

While the "rules" of the vampires are completely made (because they are not realistic), one of the most common is that the vampire cannot get into space without being invited. It is a symbolic barrier, the one that represents the home as a sacred space and sets the victims responsible for his own death. Thinking is that if you invite the vampire inside, you just need to blame, providing a vampire path to avoid responsibility. It's the same way of thinking lobbyed against the victims of theft (this is what you get for street parking) and survivors of sexual assault (if you wore that skirt, you searched for it).

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In the "sinners", the vampires are led by Jackack O'Connell, a white vampire seeking comfort in the welcome home of two members of the Ku Klux Clan, after they completely ignore the warning provided by a group of indigenous people not to release it. We Know It is wrong to interfere with the victim, but ... These "victims" really need to be blamed just because they allow racist thinking to control their decisions. After Remmik turns the couple, the trio is drawn to the Ukeuk wrist with the power of the music Sami (Miles Catton), with the intention of stealing his power to bring his personal brand to evil.

They are trying to enter the club independently, but once it is clear that the black club does not allow these strange white people, vampires direct the white that passes by Maria (Haile Steinfeld) and use it as their ticket. They may not be able to enter the club, but Mary can be able to infiltrate and turn other people from the inside of them, after turning into a vampire. Using Mary to manipulate her community, Her familyis diabolic. The threat from the vampire is real, and will destroy you from within if they are given a chance.

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American society tends to make anyone falling out of white, gypsy, heterosexual, male, Christian identity to feel like a monster. At the intersection of Brad Michael Elmore's feminist vampire, Beat, Leader, Duke (Diana Hopper), gives a speech to Laurel (Nicole Mins) about why being a vampire is better than the alternative than that reason:

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"The world meat grinder, child. Especially if you are a woman. I think you do not need a PowerPoint presentation to know it's true. We are political, socially, and mythological F - ed. Our roles are secondary.

If you are someone who walks around the world without any real, tangible power, a chance to finally feel safe, strong and under control as a vampire is an electrical proposal. But the vampires in the "sinners" are not like the vampires in Bit or even "terrible night". They do not intend to help or build a community with the black present at the Ukeuk Party, they want to infiltrate the group to steal their power and turn them into subsidies in this process. They want to destroy the black joy, Loveubov and the elasticity found in the club, which is confirmed by co-drafting their musical power and convincing those who eventually turn vampires to dance to their Instead, music.

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White people often claim that assimilation is the key to liberating, telling marginalized people to act, look, and even believe The way they do to be "accepted" by society. But the truth is that these promises are nothing more than an oppression tool. Assimilation cannot save us, and anyone who acts as if he could be a vampire who wants to drain others from their individuality and yes, power. The stories of vampires have Always It was for social problems, but Ryan Koggler nicely undermines the modern path of telling these stories to remind the world about what the real monsters are.

The "sinners" are now playing in cinemas everywhere.