The latest fare from A24 is almost always certain to garner some buzz, thanks in part to the company's cult of fans that has amassed over the past decade or so. Bringing unique movies and some of the best contemporary filmmakers to the big screen, the company proudly promotes cinema as an art form that can be used to explore, express, and astonish. Naturally, it makes sense for the company to release Greg Kwedar's latest film, Sing Sing, which itself is a celebration of exploration and expression through art.
Based on the real-life Rehabilitation Through the Arts programme at Sing Sing Maximum Security Prison, the film centres on a group of inmates involved in the creation of theatrical stage shows through the programme. Specifically, we follow John Whitfield (Colman Domingo in a wonderful performance) a.k.a. “Divine G” as he navigates the RTA's latest production all the while attempting to plead his case for parole.
Given that the film makes use of previous RTA members, there are some limitations to the picture that get things off to a slow start. It is clear that Divine G is a key player in the running of the programme. So, when Clarence “Divine Eye” Maclin (playing himself) joins the group and immediately leads a vote to perform a play not written by Divine G, as well as taking the role that he was going for, it seems like we may be in for your run of the mill power struggle. Thankfully, these events do not dictate the film but instead exist as a starting point for what is to come.
The rest of the feature plays out beautifully as we witness these characters go through their own transformations through the art of acting, reaching down deep within themselves and exploring the future they could have as opposed to the present they are currently living.
The story is kept to a minimum, with Kwedar and his crew capturing the natural day-to-day exercises and rehearsals that allow for such breakthroughs. The result not only brings the audience closer to the characters on screen but actively makes us feel as though we are members of the programme ourselves, allowing for a euphoric experience that will touch your very soul.
As fascinating as the story may be, what truly makes the film work is the approach that the film takes toward capturing it. Using naturalistic lighting, realist camera techniques and giving the cast the freedom to improvise and add to scenes, Kwedar has clearly let go of his control over the film and trusted in his cast and crew, leading to a much better product in the long term.
The decision to cast previous RTA members for primary roles in the film was an expert move and allows Sing Sing to work as a wonderful reminder of it's power and of the lives it has changed. Through performers like David “Dap” Giraudy, Patrick “Preme” Griffin and Sean “Dino” Johnson, we get to see these men post-incarceration as opposed to the stereotypical prisoners we are shown in the media. Regardless of their prospects of gaining freedom from Sing Sing, it is clear that these men, and many others like them, have freed themselves from the labels society has placed on them by incarcerating them in the first place. Ultimately, these men are better people for having been members of the Rehabilitation Through the Arts programme and we as audience members are better for having witnessed their journey.
Sing Sing is a beautiful reminder of what is possible through the arts. There are some in life who are lucky enough to have an outlet and there are some of us who have not yet found our own. For those who are still searching, let Sing Sing inspire you.
Sing Sing had its European Premiere at Edinburgh International Film Festival 2024
