The perfect button on the stage falling on the jaw comes when it is revealed that the discoverers in the Ukeuk-and-and-the-art Semi music have attracted the attention of some nomadic vampires, led by Remmik (Jackack O'Connell). As the initial prologue of the film said, these vampires are not only in the blood, but they also want to consume the appropriate such transcendent art, literally and figuratively. Because Remmik is later recognized at Sammy, he needs to absorb the power of musicians to use it to contact his long -term ancestors and loved ones; Because of its immortal nature, it is inexpressibly lonely. While portraying the vampire as a primarily lonely figure is nothing new in the myths of the creature, what is intriguing fresh about the conception of Koggler for the creature is like vampires are not understood or secretly moral. These are some of the most attractive nuanced vampires seen in any horror film, and Kogller is not carefully defined to define them strictly to make their seduction so powerful.

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To be witty, this is not a riff "Invasion of Body Grabers", where the fastening force is trying to bear and extinguish all the examples of mankind. Later in the film, Koggler offers a companion musical number of the performance of Sami, a scene in which Wammer Jorda performs his own music and dance with him by leaving. Although the scene is just as alive and just as emotions as the previous number, the key difference lies in the way vampires work. It has been found that, despite each individual vampire, insisting that they retain their human identity, they are all looking for the vampire feelings they have done, namely Remmik. Thus, the song they dance happily is one of the past of Remmik and upbringing, not theirs. So, in this comparison, Koggler shows us the difference between personal art, which primarily speaks of an individual (still that it can be associated with a large number of other people), and the art that is considered significant by an external organ, whether it is a corporation, cultural consensus or otherwise.

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As his title suggests, "sinners" are a movie about people with imperfections, vampires or not. As in life, no one is completely good, and no one is completely bad, but everyone must constantly choose which way they will follow and why. It is a work of art that enables escapism of the genre, however, a sincere view of a period in the past of our country, and thus makes us question our own morales and motives. In essence, it is a collective experience that comes from personal inspiration, and Koggler brilliantly condenses that goal in the stage of signing the film. Like any movie, song, painting or a novel with rich layers, there is a lot for us to discover in it, as a collective and how we ourselves.

The "sinners" are now playing in cinemas everywhere.