Yesterday, Ryan Coogler received his Directors Guild of America Nominee Medallion, presented by longtime collaborator and Sinners star Michael B. Jordan. While the Directors Guild of America ultimately awarded its top directing honor to Paul Thomas Anderson for One Battle After Another, Coogler’s nomination alone carried historic and emotional weight.
Coogler was recognized for Sinners, earning a place among this year’s five DGA nominees alongside Guillermo Del Toro (Frankenstein), Josh Safdie (Marty Supreme), and Chloé Zhao (Hamnet). The category remains one of the industry’s most closely watched, often signaling momentum heading into the Oscars.
Beyond awards-season math, Coogler’s nomination marked a milestone. He became only the fifth Black filmmaker ever nominated for the DGA’s top directing prize, and the first since Spike Lee for BlacKkKlansman in 2018. Previous Black nominees include Jordan Peele (Get Out), Barry Jenkins (Moonlight), and Lee Daniels (Precious). Notably, no Black director has ever won the DGA’s top prize, making each nomination both celebratory and bittersweet.
Ryan Coogler shares how his father was a part of unions and how proud he is to be a member of the DGA as he receives his medallion for ‘Sinners’ at the #DGAAwards pic.twitter.com/1JkgcDv6nd
— Deadline (@DEADLINE) February 8, 2026
When Coogler took the stage to accept his medallion, he acknowledged that his wife and producing partner, Zinzi Coogler, was not able to attend because she was home caring for their young son, who has been ill.
“I’m extra nervous today, because my anchor, my life partner, is not here,” Coogler said. “My wife and producer, Zinzi, is at home with our son, who is fairly sick, and we’re new to the parenting thing. He’s going to be good.”
The director then held up his DGA membership card and his health insurance card.
“I’ve got to tell you, this past week, this past year, I’ve never been prouder to have one of these, and never been prouder to have one of these,” he said, prompting loud cheers. Coogler used the moment to spotlight the importance of union protections, especially healthcare.
“As studio filmmakers, we can probably afford the hospital visits,” he continued. “It’s a lot of members who wouldn’t be able to. So I’m forever grateful to the guild, for all its flawed history, I’m very proud that we take care of each other.”
Reflecting on their creative partnership stretching from Fruitvale Station through Creed, Black Panther, and now Sinners, Jordan praised Coogler not only as a director but as a storyteller reshaping the industry.
“Ryan hasn’t just contributed to cinema, he’s reshaping how stories get told, how they’re told, and who gets centered in the process,” Jordan said. He added that Coogler directs “from a place of curiosity, from empathy, and from a deep belief that if you dig far enough into a story, into a character, into a moment, you’ll find something meaningful.”
While the night ultimately belonged to Anderson, Coogler’s moment resonated well beyond the medallion itself. It was a reminder that awards season isn’t only about wins and losses, but about visibility, progress, and the human realities that exist behind the camera.
