After the thrilling opening battle scene, the plot to “The Woman

King” can feel convoluted. But its excesses serve the film’s
blockbuster goals. A defiant teenager, Nawi (Thuso Mbedu), is
offered up as a gift to the young King Ghezo (John Boyega) by her
domineering father, who is frustrated with his obstinate
daughter’s refusal to marry her many suitors. Nawi, however,
never makes it to the King, as the unflinching yet fun warrior
Izogie (a phenomenal Lashana Lynch), sees Nawi’s resistance as a
strength, and enlists her in Nanisca’s training. Being part of the
Agojie promises freedom to all involved, but not to those they
conquer. The defeated are offered as tribute to the draconian Oyo
Empire, who then deal their fellow Africans as slaves to
Europeans in exchange for guns. It’s a circle of oppression that
the guilt-ridden Nanisca wants the King to break. In the
meantime, a dream has haunted Nanisca, and the disobedient
Nawa, who struggles with upholding some of Agojie clan’s strict
requirements, particularly the "No Men" part. It might be the key
to what ails her.
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Despite these clunky narrative beats—there’s a twist halfway

through that nearly causes the story to fall apart—the sheer
pleasure of “The Woman King” resides in the bond shared by
these Black women. They are the film’s love story as they commit
to each other as much as they do to their grueling training. Vast
compositions of Black women caring and nurturing each other
proliferate “The Woman King,” and the rituals and songs they
share adds further layers to their deep devotion.

Prince-Bythewood isn’t afraid to rely on emotional heft in an

action movie. Every actor in this deep ensemble is granted their
own space; they're organically challenged but never artificially
wielded as a teaching tool for white audiences. Sheila Atim, who
along with Mbedu turned in a stellar performance in Barry
Jenkins’ “The Underground Railroad,” is measured, aware, and
giving as Nanisca’s trusted second-in-command Amenza. Boyega
is commanding yet beguiling as a king projecting confidence while
still learning what it means to lead (many of his line readers are
instantly quotable).

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“The Woman King,” however, is quite messy. The overuse of VFX

for landscapes, fake extras, and fire often flattens the
compositions by cinematographer Polly Morgan; she finds greater
latitude in capturing the bruising yet precise fight choreography.
And the low-simmering romance that emerges between Nawa and
Malik, a ripped Portuguese-Dahomen fantasy (Jordan Bolger)
returning to discover his roots, while clear in its intent to test
Nawa’s dedication to her sisters, is unintentionally comical in its
awkwardness. The script far too often also tries to neatly tie
together these characters, especially Nawi and Nanisca.

But when “The Woman King” works, it’s majestic. The tactile
costumes by Gersha Phillips ("Star Trek Discovery") and the
detailed production design by Akin McKenzie (“Wild Life” and
“When They See Us”) feel lived in and vibrant, especially in the
vital rendering of the Dahomey Kingdom, which is teeming with
scenes of color and community. Terilyn A. Shropshire’s slick,
intelligent editing allows this grand epic to breathe. And the
evocative score by Terence Blanchard and Lebo M. gives voice to
the Agojie’s fighting spirit.
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Though Davis is the movie’s obvious star, turning in an aching

and psychically demanding performance that’s matched pound for
pound with her interiority, Mbedu reaffirms herself as a star too.
She gives herself over to the tale of a woman who so desires to be
heard that she never backs down to anyone. A glimmer follows
Mbedu in her every line read, and gloom follows her in
devastation. There’s one scene where she cries over the body of a
fallen warrior and lets out a wail with an impact that travels from
your toes to your spleen.

The subplots in “The Woman King” might undo it for some. But
the magnitude and the awe this movie inspires are what epics like
“Gladiator” and “Braveheart” are all about. They’re meant for your
heart to override your brain, to pull you toward a rousing
splendor, to put a lump in your throat. In between the large,
sprawling battles of "The Woman King," and in between the desire
to not yield to white outside forces and the urge to topple
oppressive and racist systems, the guide is sisterly love, Black
love. Thrilling and enrapturing, emotionally beautiful and
spiritually buoyant, “The Woman King” isn’t just an uplifting
battle cry. It’s the movie Prince-Bythewood has been building
toward throughout her entire career. And she doesn’t miss.

This review was filed from the Toronto International Film Festival on
September 10th. "The Woman King" opens on September 16th.
As a Nigerian feminist, I have always been curious about how feminism has evolved in
my country and culture. So naturally, I was curious to see The Woman King, the new
movie about an all-female troop of warriors in a 19th-century West African kingdom.
Would this movie, starring the amazing Viola Davis as General Nanisca, speak to the
issues faced by West African women like me? What challenges did they face and how do
these relate to today's world?

POP CULTURE HAPPY HOUR

'The Woman King' reigns supreme
I'm not surprised by what I saw. But I am sad to report that the inequalities faced by the
women in the movie do indeed reflect the struggles that women today face in many parts
of the world, including West Africa.

The Woman King tells the story of the Agojie, an all-female troop of warriors of the real-
life West African Dahomey kingdom, today's Republic of Benin. "Agojie" was another
name for the Dahomey Amazons, known for their bravery.
By exploring the lives of these bold women, the film illustrates how the lack of equal
rights for women is a problem that has lasted for centuries. While I was deeply inspired
to see an all-female army led by a strong woman, I was also dismayed by the inequalities
that these soldiers had to suffer. Unlike their male counterparts, the Agojie women were
not allowed to marry or become parents as in theory they belonged to the king.

Even today, women around the world often have to choose between a fast-paced
progressive career or slowing down to start a family. I hope that the movie inspires more
people to recognize the strength of women and create opportunities that allow them to
build their career while growing a family — or frankly to embrace any choice they prefer
to make. And to be honored for charting their own path.
In one scene, a male member of the king's cabinet expresses his anger at Viola Davis'
character for getting the king's attention and influencing his decision to go to war with
the opposing Oyo Empire. She says, "If the king respects me, it is because I have earned
it." More women need to get the respect they have earned.

Nawi, a character played by Thuso Mbedu, is equally inspiring. She reminds me of

comments made by the Nigerian writer Chimamanda Adichie in her famous TEDx
talk "We should all be feminists." In her speech, Adichie sums up the way the world
treats women: "We say to them [girls] you can have ambition but not too much
otherwise you will threaten the man." Nawi was happy to threaten men.
Nawi is a strong-willed and intelligent character, refusing to buckle down to the
pressure of being married off early. In one scene, she dares to speak back to an old man
who wants to marry her. He hits her – and then she fights back, shoving this prospective
husband.

Her father sees her as a threat to potential suitors and gives her out to serve the king.

Nawi is presented with the choice of joining the Agojie and remaining celibate or serving
the palace in other ways. She chooses the path of becoming an Agojie and proved to be
one of its best soldiers.

She breaks free of the gendered shackles that society at large places upon women –
young and old.

Like Nawi, strong-willed women today are often taunted. They're told their feistiness
will make them unattractive to "real men." Personally, I have been told by male
acquaintances that buying a car or getting a doctorate while unmarried will make me
less attractive to men.

There is a deep-seated struggle to not be the "angry black woman" for many of us who
fight back against what is wrong. The movie feels like a much-needed reminder to never
stop speaking about the inequalities that women face. If we do not continue to speak up
about the challenges we face every day, society will never be fair to women. As Nawi
states when she was confronted for standing up to the Viola Davis's mighty General
Nanisca, "If I do not speak up, she will not see me."

Another inspiration in this movie comes from King Ghezo, the role played by John
Boyega. Although young and inexperienced, King Ghezo leads with humility. He listens
to General Nanisca's advice — leading to some jealousy among male members of his
cabinet.

That doesn't bother him. In fact, his cabinet includes other women in addition to
General Nanisca. He did not engage in tokenism.

I endorse his openness. I believe very strongly that women must have a seat at the table
whether to discuss politics and governance or health and development issues such as
what I do as a policy and partnerships manager in a global health institution.
This kind of representation does not mean that only one or two women are selected for a
conference as we typically see today but a deliberate attempt to hear from women.
Whether in traditional settings or workplaces, more women are desperately needed as
leaders and as advisers. I have only to look to my own country to see the bias we face: In
Nigeria's history, no woman has ever been appointed to head any of the three military
branches.

I am glad that more stories are being told about West Africa for global audiences. I left
the theater deeply reflective of the challenges faced by Africans during the colonial days
but also deeply inspired by the role of female armies like the Agojie. The next time
someone says to me that being a feminist is a "new generation thing," I will tell them the
story of the Agojie, our female warriors from the 19th century.

Oyeronke Oyebanji is a Nigerian public health professional and senior fellow at the Aspen
Institute. Follow her on Twitter @Oyeronke_