The central cinematic thesis is that music is a mystical force that can be used either to heal or to harm. In this particular context the dichotomy goes from gospel, by which one can commune with God, to the blues, by which the guitar becomes a totem of the devil. It’s an idea as old as the Mississippi Delta, and allows the story to dig deep into the roots of African-American culture, by repurposing classic horror tropes and by the selective perversion of religious symbolism.
Autumn Durald Arkapaw
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