Gina Prince-Bythewood’s dedication to love tales has been the source of her power ever since she started directing. In her movies, opulent twilight emotions take place on a basketball court, between generations, on the steps of the entertainment industry, and between immortals. They emphasise the strength and interiority that Black women possess, as well as how often they draw strength from other Black women. She expanded on these topics in “The Old Guard,” a movie she produced for Netflix. But her previous works cannot fully prepare you for the lavishness of her most recent piece.
In going into “The Woman King,” a big-hearted action epic whose major challenge is being sincere and historical while fulfilling its blockbuster requirements, you might feel some hesitation. Especially in a cinematic landscape that prizes broad statements on race over sturdy storytelling. You might wonder how Prince-Bythewood can shape a tale centring the Agojie warriors—an all-woman group of soldiers sworn to honour and sisterhood—hailing from the West African kingdom of Dahomey, when one considers their hand in perpetuating the transatlantic slave trade. It’s a towering task approached by Prince-Bythewood and screenwriter Dana Stevens with gentle sensitivity, and a fierce desire to show Black women as the charters of their destiny.
The film begins with flair: A group of men lounge at the centre of a field by a campfire. They hear rustling in the tallgrass; they see a flock of birds fly away on a breeze. Suddenly a menacing Viola Davis playing Nanisca, the world-weary Agojie general, emerges from the grass armed with a machete. An entire platoon then appears behind her. The ensuing slaughter of the men (the women in the village are left unharmed), is soaked in delirious gore and is part of this warrior ensemble’s mission to free their imprisoned kin. Nanisca, however, loses so many comrades in the process that she decides to train a new batch of recruits.
After the thrilling opening battle scene, the plot of “The Woman King” can feel convoluted. But its excesses serve the film’s blockbuster goals. As a result of his frustration with his stubborn daughter’s unwillingness to wed any of her many suitors, Nawi’s dominating father (Thuso Mbedu) offers up the rebellious teen as a gift to the youthful King Ghezo (John Boyega). However, Nawi never gets to see the King because Izogie, a fearless but lovable warrior played to perfection by Lashana Lynch, recognises Nawi’s resistance as a strength and takes her on as a trainee under Nanisca. Freedom is promised to everyone who joins the Agojie, but not to those they subjugate.
The tyrannical Oyo Empire, which trades their fellow Africans as slaves to Europeans in exchange for weapons, accepts the defeated as tribute. The King should end the oppressive cycle, according to the guilty Nanisca. Meanwhile, Nanisca is troubled by a dream, as is the disobedient Nawa, who finds it difficult to adhere to some of the Agojie clan’s stringent rules, particularly the “No Men” clause. It might hold the solution to her problems. The pure joy of “The Woman King” is in the camaraderie shared by these Black women, despite these awkward narrative beats—there’s a revelation halfway through that almost leads the plot to break apart. They are the love interest of the movie because they devote as much time to one another as they do to their demanding training. In “The Woman King,” there are numerous examples of Black women supporting and caring for one another, and the rituals and songs they sing together add even more layers to their abiding love.
In an action movie, Prince-Bythewood isn’t hesitant to rely on emotional weight. Each performer in this large ensemble is given their place, and they are all challenged naturally rather than being forcibly used as props to instruct white audiences. Sheila Atim, who gave a standout performance with Mbedu in Barry Jenkins’ ‘The Underground Railroad’, is calm, observant and giving as Nanisca’s dependable constable Amenza. Boyega is charismatic yet authoritative as a king, exuding assurance while still figuring out what it means to be in charge (many of his lines are immediately quotable).
The messiness of “The Woman King,” however, is considerable. The cinematographer Polly Morgan finds more freedom while shooting the brutal yet exact battle choreography; she finds that the usage of VFX for landscapes, false extras, and fire frequently flattens the compositions. The low-simmering romance that develops between Nawa and Malik, a ripped Portuguese-Dahomen dream (Jordan Bolger) who is returning to find his roots, is inadvertently comical in its awkwardness even though it is meant to test Nawa’s loyalty to her sisters. Additionally, the plot far too frequently tries to neatly connect these individuals, particularly Nawi and Nanisca.
However, “The Woman King” is majestic when it succeeds. Gersha Phillips (“Star Trek Discovery”) and Akin McKenzie (“Wild Life” and “When They See Us”) created tactile costumes and meticulous production designs that feel lived in and vivid. This is especially true of their depiction of the Dahomey Kingdom, which is brimming with colourful and communal scenes. The elegant, astute editing of Terilyn A. Shropshire gives this vast epic room to breathe. The Agojie’s spirit of resistance is also given expression by the stirring score by Terence Blanchard and Lebo M.
Mbedu confirms her status as a star even if Davis is the film’s clear lead, giving an agonising and psychiatrically taxing performance that is matched pound for pound with her interiority. She gives herself over to the story of a lady who never gives up on anyone because she is so determined to be heard. Every time Mbedu reads, there is a light, and every time there is destruction, there is gloom. She sobs over a dead warrior in one scene, and her impactful howl can be heard from your toes to your spleen.
Some people might be disappointed with “The Woman King”‘s side stories. But epics like “Gladiator” and “Braveheart” are all about the scope and wonder that this film evokes. They’re designed to cause a knot in your throat, make your heart take precedence over your brain, and lure you into a rousing magnificence. Sisterly love, Black love, serves as a compass in “The Woman King” between the big, expansive struggles, between the urge to resist white outside forces and the ambition to overthrow oppressive and racist institutions. “The Woman King” is more than just a motivational rallying cry; it is thrilling and enthralling, emotionally moving, and spiritually uplifted. It’s the film that Prince-Bythewood has been preparing for her entire professional life. She doesn’t miss it either.
