The Korean connection in Hollywood horror film 'Sinners'

Executive producer Rebecca Cho, left, and executive music producer Serena Göransson visit Gwangjang Market in Seoul. Courtesy of Warner Bros. Pictures

"Sinners," Ryan Coogler’s latest film, has many moving parts — both literally and figuratively. But what grounds the story is a production team forged through trust, shared history and creative synergy. The emotional resonance of the film isn’t just felt on-screen; it echoes behind the scenes through the contributions of people like executive producer Rebecca Cho and executive music producer Serena Göransson — both of whom have roots in Korea.

While the film doesn’t visually reference Korean culture, its connection to the peninsula is deeply tied to the production team. For both Cho and Göransson, bringing "Sinners" to Korea carries special significance — not just as professionals, but as individuals whose personal ties make the moment intimate and powerful.

“For both of them having roots here and bringing a movie that very much touches on that subject, the moment for both is emotional and special for them to promote and show the movie here in Korea,” the team shared. “Both for the love and deep respect they have for the creator and how they can also relate to the story in deep ways, they both knew the message of this story was important to convey. While it’s not the same pain, they understood that these themes are in many ways universal and have a great impact and create a dialogue with one another and share our stories together.”

Unlike many fleeting cross-cultural collaborations between Asian or Asian American and African American artists, Cho and Göransson represent a sustained creative relationship with Coogler — one that has grown across multiple projects. Göransson frequently lends her musical skills to soundtracks, including "Wakanda Forever," and Cho has worked closely with Coogler since her time at Warner Bros. and now with Proximity Media, the company co-founded by Ryan and Zinzi Coogler along with "Sinners" producer Sev Ohanian. This film, once again, reflects their idea of community.

A scene from the film "Sinners" / Courtesy of Warner Bros. Pictures

“The respect everyone had for each other and for the work made ‘getting it right’ even more important,” Cho said, “and to make Coogler’s project come to life.”

Cho shared that the genesis of the movie, despite its genre mash-up, had long been in the works. “It’s an idea Ryan’s had a long time, and he told us about it for a while.” Because the film included many complex details, she added, “We all thought, ‘One day when he’s not so busy.’ And then right around Halloween of 2023, he sat all of us down for dinner, and he said, ‘I’m going to write this movie, and I’m going to make it next year.’”

At first, the team assumed he meant by October 2024, but Coogler told them, “Like no, Q1 of 2024, I want to be shooting this movie.”

That meant they had just two months to get a large portion of the production ready. Big-budget films typically spend six months to a year in development, including scripting, revisions and budgeting. But because of the team’s deep trust and shared vision, there was no hesitation. “Okay, time to get focused on this,” was the only thought.

Seemingly, fate was on their side. The team quickly hired a line producer, set a budget and relocated to New Orleans in February for prep. By April, they were filming. “From Day 1, my role with Ryan, Zinzi and Sev was helping in putting all these pieces together. I worked on a number of movies as a studio exec (previously at Warner Bros.), but this one is very special — just how much we poured into it,” Cho said.

Across the "Sinners" team, there’s a consensus on the film’s universal appeal. “Even if you aren’t directly familiar with this point in U.S. history, it isn’t necessary to connect with the film,” Cho explained. “The time period is there so people can resonate with the characters’ oppression, emotions and later, their choices, motivations and actions.”

She added, “The movie is about people striving for freedom and what that means to them, and coping … how you cope with what life gives you. It’s people who find love and joy. The harsh realities of life is not something the movie shies away from, but it’s also not something the movie focuses on. It’s people who find love and joy and freedom despite all of that, so I think it’s endlessly relatable.”

For Göransson, her role was no less daunting. The blues has a deep, rich history, and is equally as resonant as any visual or dialogue in the script. To do justice to the time period, history and culture, the music had to be perfect. Göransson and her husband, composer Ludwig Göransson, were up to the task, however with the pressures of time they could’ve taken a simpler route.

The duo wanted to honor the legacy of blues, rather than just hire session musicians. “We had to connect with people, with the right people,” Göransson said. “First it was Boo Mitchell, who is a descendant of blues musicians and has a beautiful studio in Memphis, called Royal Studios. He then connected us with Alvin ‘Al’ Delwood Hart, Cedric Burnside and Tierinii Jackson (all featured on the soundtrack) — and all these songs came from Memphis. This was the first thing we did for the film, this was in March, and we were shooting in April. It felt like the right people were coming and that’s true from beginning to end.”

The music team also brought in Raphael Saadiq who along with Ludwig wrote “I Lied to You,” and along with actor Miles Caton (who plays Sammie Miller) whose voice delivers one of the most moving cinematic moments in the film, a song that is a slow-burning, emotionally charged piece steeped in regret and haunting honesty and blends blues, rock, hip-hop and electronica that lingers long after the credits. The process was so smooth that they were able to get most of it done within one short session together.

The songs were produced and ready by filming, with some even tweaked on set. Caton and co-star Jack O’Connell (who plays the villain Remmick) performed music live in several scenes, adding authentic energy to the film’s soundscape. Rarely does music editing happen while filming and in the integral scenes, not only did they play the music on set, but if needed the music was changed to fit the beats of the scene or whatever was happening, not a beat or scene out of sync. It felt like magic was unfolding in real time, even as they had to make decisions on the spot, and although unusual to do, it seemed to energize everyone to push harder and get it right in the moment.

They both were conscious of the importance of this while on set. “It (music) was really just an expression of, and a real function of, what music was at the time,” Göransson said. “It was something that was a part of their livelihood, as much as drinking, eating and socializing were.”

For both Göransson and Cho, balancing experience with authenticity was crucial, both have similar feelings when it comes to creating that synergy. Göransson put it poetically: “The first question you have to ask is: What don’t I know? What is it I don’t know I don’t know? That’s always a good place to start.”

Cho added, “There were 13 consultants on this movie. This movie was meticulously researched.” That effort is evident in everything — from the musicians and writers to the visual symbolism woven throughout the film, and the interplay with the actors and characters themselves.

“It was so amazing to layer these real events and understand and represent these traditions as well, it became all-encompassing,” she said.

That authenticity extended to all music, not just the blues; the villain Remmick was Irish and his roots were expressed through songs like “Séance” and “Rocky Road to Dublin.” Coogler is known for giving his antagonists nuanced, relatable motivations, and Remmick’s backstory — being a victim of colonialism himself — adds depth and emotional tension. To make that believable and to give weight to the story there was also extensive research on Irish music as well. The movie shows that in many cultures around the world, when unbearable oppression happens, music is the one thing that can express those pains. In this way, for many people whether in Korea, the U.S. or another country’s oppression, music is the constant.

Actors Miles Caton, left, and Omar Miller view a billboard for the film "Sinners" in Seoul, May 23. Courtesy of Warner Bros. Pictures

Göransson relayed a moving story. “There were so many times working on this project where I thought about it. You know, I thought about this parallel. My grandmother was pregnant in the mountains and like is surviving (during war and post-Korean War years),” she said. “I remember her singing 'Ganggangsullae' and 'Arirang.' It’s powerful seeing someone take a circumstance that is quite hard to render and wrap your head around and to overcome it, not just through music, but it is a part of it."

Cho added, “This is a movie that is about people who have suffered unimaginable kinds of traumas, tragedies and impositions on their right to live and life itself — and overcoming and existing despite it. I think that’s something universally relatable to all audiences. I think there’s this adage for Koreans: where you party, sing, dance, eat and celebrate, and come together in community — and that’s so meaningful in Korean culture. Yes, there are vampires. Yes, there’s this history in 1930s Mississippi Delta. But it’s about people who really love each other and want to shout from the rooftop of their juke joint that they exist — and they existed.”

Göransson and Cho’s understanding, care and reverence are evident throughout "Sinners" and the depth of connection they had to it. In helping to bring Coogler’s vision to life, they help to highlight the lasting impact of African American culture and blues music on global art. This production proves that when creative collaboration is rooted in authenticity, it becomes not just storytelling, but a powerful act of freedom and solidarity.

Antonia Giordano is a freelance photographer and writer based in Seoul. An adoptee, Antonia deeply understands and connects with the issues surrounding adoption and post-adoption. Visit giordanoantonia.myportfolio.com and follow @antonia_creative_services on Instagram.