Everyone has that passion (or passions) that help them escape struggles they may encounter daily. For many people, art is that medicine that heals them, whether it’s movies, music, or, in Sing Sing’s case, theater. Greg Kwedar’s sophomore outing behind the camera presents itself as a harrowingly earnest portrait of how this medium can assist an individual to feel whole in the darkest of times. 

Colman Domingo, delivering a phenomenal turn, stars as John “Divine G” Whitfield, a founding member of the branch of Rehabilitation Through the Arts (RTA) from the Sing Sing Correctional Facility in New York. The RTA is a group that allows inmates to step outside their troubled shells and inhabit another character for a change, which may reveal a more intimate side that said inmates weren’t able to find in themselves prior. Sing Sing stands out by showcasing that these inmates, all men, have vulnerability in themselves that they didn’t anticipate finding. To call this film music to my ears would feel like an understatement.

With a production of Hamlet taking place, the titular role falls between Divine G and new member Clarence “Divine Eye” Maclin, portrayed by Maclin himself. Instead, Divine Eye throws a curveball and suggests a comedy show is put on instead, as the prior plays have been focused on the traumatic side. RTA director Brent (Paul Raci) volunteers to write the play, which features a plethora of different themes and topics, including time travel, Freddy Kruger, and a Western shootout, just to name a few.

The talk of the town with Sing Sing is how Kwedar chose to have real-life ex-inmates of Sing Sing portray themselves, outside of Domingo and Raci, making their performances feel more in the moment and earnest. With each passing scene, the audience becomes emotionally invested in the inmates’ lives as they continue opening up their emotions to one another about their vulnerabilities, dreams, and passions. 

In addition to Kwedar’s Jockey co-writer Clint Bentley, Whitfield, and Maclin also receive story credit for one of the finest screenplays in years. Sing Sing does not shy away from the faults of each inmate, yet it presents a message on how no one should be defined by their past. If written in a more safe fashion, the entire film would’ve been stuck behind bars and failed to hook the audience with its emotional punch.

Sing Sing boldly chooses to focus not on the show the inmates are putting together but on the people in charge of bringing the performance to life. As the big day goes closer, the tension between Divine G and Divine Eye gradually increases – but not the kind an audience may be used to seeing in a film tackling prison life. The relationship eventually evolves into one where, instead of antagonistic, acts as one full of interdependence. They similarly crave to see the outside world but remain focused on the work they’re making together in the world they’re in within the facility. Having all these men come together to create something beautiful to feel whole again makes the viewing experience more impactful than one would believe.

There were many titles that debuted with their world premieres at this year’s TIFF with little–no buzz, yet Sing Sing garnered some of the festival’s strongest. So much so that A24 recently acquired the film and is planning a 2024 theatrical release. Domingo has had quite the presence at the fall film festivals alongside Netflix’s Rustin, and the praise surrounding his work there is deserved. But, I believe Sing Sing is not only a far superior film, it also contains a far superior performance. The entire team made something beautiful, and it’ll be a joy to see where audiences land on this film when it branches outside of the festival circuit.

Review Courtesy of Bryan Sudfield 

Feature Image credit to A24 via Variety