Directed by Gina Prince-Bythewood
Starring Viola Davis, Shelia Atim, Thuso Mbedu, Lashana Lynch
Watching the trailer you could easily mistake The Woman King for a battle-heavy action movie. And while the battles at the start and the end are ferocious, it is the storytelling in the middle that makes this a must-see film. A rare film that is both bloodthirsty and heartwarming.
Based on a true story of West Africa in the 19th Century, tribes are kidnapping each other for sale to the European colonialist slave trade. One battle-weary female general, Nanisca (Viola Davis), wants to lead her Mahoney people out from under the thumb of oppressors. Two issues hold the tension – not only are we unsure if the Agojie, her outnumbered sword-swinging female warrior force, are capable of defeating a gun-toting enemy, but also whether the arrogant new young King will follow her lead.
Viola Davis’s performance is indomitable. She has been quoted calling The Woman King her “Opus” and you will quickly understand why. Every mannerism and look conveys such power and discipline, whether she is insulting the King’s favourite wife, reprimanding a junior soldier, or beheading an enemy. Davis is known for playing strong women (The Help, Fences, The First Lady), yet Nanisca is next level – both mentally and physically strong.
Credit must also be given for Davis’ physical efforts in this film, for at 57 years of age she has the musculature and energy of a woman half her age. You can feel her intensity radiating off the screen in what will be an award winning, career defining performance.
Thankfully, the supporting actresses can hold their own under the withering stare of Viola Davis. Strong performances all round by the cast of predominantly black women, specifically from the second-in-command Amenza (Ugandan actress Shelia Atim), training commander Izogie (Lashana Lynch) and rebellious recruit Nawi (South African actress Thuso Mbedu). All three were a joy to watch and bring a unique well-developed character to the story.
Aside from fawning over Davis’ performance, the second highlight of The Woman King is its celebration of African culture. This film does not feel like a documentary or travel porn, nor does it give in to cliches. Filmed in South Africa, the villages, clothing, and dancing all feels authentic and respected – there is no silky straightened Hollywood hair here. Beautiful small moments give insight – like watching the tight meticulous hair rows being braided – while not delaying the story.
The choice of language is not authentic, but it is strategic. Subtitles are only required for the colonialists, whereas the majority of the film is African-accented English, subtly siding the audience with the Mahoney people, and framing the white man as the foreign intruders (that they were).
The Woman King is triumphant storytelling. It is a story of overcoming trauma, of sacrifice, of empowerment, and a kick-ass group of women.
MELISSA MANN
