There is a beautiful scene in Ryan Coogler’s Creed that captures what this young director proposes to his art form and to his country. The boxer and protagonist, Donnie (Michael B. Jordan), is running, in gray sweats, to see his ailing trainer, Rocky Balboa (Sylvester Stallone). A clutch of neighborhood kids on dirt bikes and ATVs trail him like a Greek chorus. As Donnie picks up speed, Meek Mill’s “Lord Knows” blares in the background. At the height of his sprint, Donnie screams in agony and joy as Meek gives way to soft pianos, big horns and triumphant vocals. Time slows, Donnie’s hood chorus surrounds him, and our eyes are drawn to a boy popping a wheelie with his left hand extended in the air.
All the beauty the Academy cannot see is in this one scene. That beauty, so often denied, is the stuff of Coogler’s work. This is not a matter of looking pretty—though that is part of it—so much as a matter of looking human. That is why Ryan Coogler is so necessary right now. On the biggest screen, he confers humanity and beauty on people told they are innately without it.
Coates is a journalist and the author, most recently, of Between the World and Me
- What We Know So Far About the Deadly Earthquakes in Turkey and Syria
- Beyoncé's Album of the Year Snub Fits Into the Grammys' Long History of Overlooking Black Women
- How the U.S. Shot Down the Alleged Chinese Spy Balloon
- Effective Altruism Has a Toxic Culture of Sexual Harassment and Abuse, Women Say
- Inside Bolsonaro's Surreal New Life as a Florida Man—and MAGA Darling
- 'Return to Office' Plans Spell Trouble for Working Moms
- 8 Ways to Read More Books—and Why You Should
- Why Aren't Movies Sexy Anymore?
- How Logan Paul's Crypto Empire Fell Apart
