Festival hype can be quite the gift and a curse for a film. On one hand, overwhelming praise from the festival crowd can land a film with an array of awards. On the other hand, if too much time passes before a film releases, the overhyped narrative begins to take shape, affecting the long-term reputation of the film, where it can seem that the festival vibe was too strong to properly rate the film.
In the case of Sing Sing, which premiered at last year’s Toronto International Film Festival, the overwhelming praise and awards buzz before this year’s Academy Awards created incredibly lofty expectations for the film. With the midyear point of 2024 arriving, Sing Sing was finally on the way, and there was no doubt I was curious as to which side of the hype train I would land on.
Have no fear, this film is the real deal. Greg Kwedar’s Sing Sing challenges preconceived notions of the incarcerated. With poignancy and care, Kwedar examines the transformative power of art and community while emphasizing both second chances and one’s own individuality and growth. It’s one of the year’s best and an important story of redemption.
Sing Sing follows a small group of incarcerated individuals inside the Sing Sing Correctional Facility. These individuals take part in a groundbreaking theater program named RTA (Rehabilitation Through the Arts), which puts on performances every few months and provides a gateway of escapism for these individuals. As the latest show arrives, this group of men not only forge strong and meaningful bonds but also confront their own selves and pasts.
Directed and co-written by Greg Kwedar and Clint Bentley, Sing Sing‘s screenplay effectively explores the importance of creative freedom and expression and the profound impact it can have on an individual. Kwedar and Bentley balance the harsh realities of prison life with many moments of warmth and care. The duo’s screenplay is a story about the universal need for human connection and expression. Everybody has creativity within them; it’s just finding the right outlet to express that creativity, and Sing Sing embraces those themes to successful and heartfelt results.
Sing Sing‘s screenplay comes to life with performances by one of the year’s best ensembles. Coming off his first Academy Award nomination, Colman Domingo commands the screen with another awards-worthy performance. Both powerful and nuanced, Domingo’s repertoire is on full display and easily surpasses his Oscar-nominated work in Rustin.
Speaking of Oscar-nominated work, Academy Award nominee Paul Raci offers a gentle and touching portrayal as the RTA director, but it’s Clarence Maclin’s raw emotion and passion that really stand out as the best supporting work in the film. The fact that Maclin and the rest of the ensemble are first-time actors is an impressive feat. None of the actors sticks out as inexperienced, which is nothing short of impressive.
Shooting the film on 16mm, cinematographer Pat Scola’s lens captures the grounded and textured feel of Sing Sing. This allows the film to never lose focus on its most important aspect, the performances. Aided by Bryce Dessner’s impeccable score, the technical aspects of the film are a chef’s kiss.
While it’s only June, it’s hard to resist hopping on the hype train of the film. Its feel-good nature and finale have me wondering if Sing Sing could Coda its way to not just a Best Picture nomination but a Best Picture win for the film and A24. There’s no denying the power of Sing Sing and the long-lasting healing impact it will have on cinephiles.
