Every year, when confronted with a flurry of remakes, reboots and revivals, someone will doubtlessly express the fact that Hollywood is running out of ideas, and that blockbusters are not allowed to be original anymore, or else they will struggle to turn a profit. Obviously, this is not a delusion, since we’ve seen so many examples of the industry being driven by existing properties, to the point where on the odd occasion when a wholly original film is both a commercial and critical success, it feels like a major event. This is perfectly embodied by The Woman King, which tells the story of Dahomey, a kingdom in West Africa that was home to the Agojie (often known as “The Dahomey Amazons” in more western setting), an army composed solely of female soldiers who were the king’s personal guards, and the people that would engage in the hand-to-hand combat in the protection of the kingdom. The most intriguing part of this story is that it is all true – these soldiers existed, being a formidable force throughout the 18th century, and amongst the most feared opponents of colonialists, slave traders and other kingdoms that surrounded them. Written by Dana Stevens (who conceived of the film alongside Maria Bello, who saw this story as a passion project, and one that she used her stature in the industry to get made), and directed by veteran filmmaker Gina Prince-Bythewood, The Woman King is an absolute triumph, a complex and enticing leap into the past that feels like a major moment in contemporary cinema, one of the rare cases of a historical film that manages to be an enormous success without a wealth of special effects or the promise of some kind of cinematic universe – its old-fashioned filmmaking in the way that feels genuine and exciting, and easily becomes one of the year’s most exquisite achievements, and a vitally important film, on both a narrative and representational level.

Hollywood certainly used to love the historical epic – from masters of the classical age like D.W. Griffith and Cecil B. DeMille, to the works of more contemporary filmmakers like Ridley Scott and Wolfgang Petersen, the industry has been rather fond of jumping into the past for the sake of telling stories on a grander scale. There’s something so captivating about history (especially those that relate to battles and other forms of warfare) that makes it profoundly cinematic, especially when it has a degree of accuracy, rather than just being defined by the Hollywood sheen that is applied to far too many films. However, these films became less prominent as the rise of other franchises, mainly science fiction and superhero fare, took over the cineplexes, leaving many filmmakers to either assimilate historical contexts into existing works, or just abandon the idea of making a blockbuster based on the past entirely, with independent cinema becoming more welcoming to such projects. The Woman King is a masterful example of the genre being revived, and proving that it has never felt more essential for these stories to be told – and more importantly, it has shown that audiences for this kind of film are still in existence, with those with a penchant for action intermingling with viewers who enjoy historical stories, which forms the foundation of what makes the film work so well. Prince-Bythewood is a massively gifted filmmaker, and she has worked in a wide range of genres over the course of her career – obviously she has not done something quite as ambitious as The Woman King, but her experience in the industry was enough for us to give her the benefit of the doubt, and she certainly delivers on the promise of a drama of quite literal epic proportions.

The decision to make this film represents a seismic shift in how we view Africa as a storytelling entity, particularly the region of West Africa, which has been massively neglected in terms of getting Hollywood’s attention, whether the extremely talented individuals that reside in these countries, or the history of the region, which has been sadly missing from a lot of mainstream projects, including those that are supposedly so worldly and aware of global issues. The Woman King is not a film that solely seeks to situate itself within a particular African context – it aims to be a powerful celebration of the continent and its people. For once, it’s not viewed as a homogenous entity in which every one of the cultures from each of the 53 countries is viewed as a singular concept, and it instead is subjected to some of the most audacious and brilliantly complex storytelling we’ve seen from a mainstream film in quite some while. Too often do we see American or British productions that may think that they are shining a light on Africa, when in reality what they are doing is simply continuing the practice of portraying the continent and its people as “the other”, a singular group stretched across a massive continent, where traditions are repurposed as quirks, and they are seen as detached from the rest of the world. Obviously, this is not applicable to every film that is set within Africa (whether partially or completely), but it’s a trend that was in dire need to repair. The Woman King is just the film to do that, since it celebrates African culture without trivializing it, showing the intricate social structure, beautiful traditions and unique qualities of this particular region, never claiming to be all-encompassing of the entire continent, but instead a firm study of one particular culture in relation to its time and place, as well as those who surround them. The director’s camera captures the astonishing beauty of the African landscapes in a way that we have rarely seen before, which is one of the many ways The Woman King provides invaluable contributions to the efforts to have it recognized as a place that is no longer seen as the distant land described in the works of Joseph Conrad and his colonial peers, but a vibrant and exciting part of the world all on its own.

It’s logical to say that, even with a strong concept and an excellent director at the helm, The Woman King would not have been made without Viola Davis. Considering she is a performer of immense stature, based on her immaculate talents and remarkable ability to play any kind of role, it makes sense that this would be her first solid foray into the action genre, playing a character that is not only worthy of her gifts and formidable status, but entirely defined by it. She’s one of those actors who has found the perfect balance between prestige and populism – she is capable of drawing in audiences, while still having critics on her side, ready to engage with whatever astonishing performance she is delivering, since she’s rarely anything less than profoundly captivating in even the weakest projects. The character of General Nanisca (who is a fictional construction, likely designed as an amalgamation of the various commandants of the Agojie throughout its history) is one tailor-made for Davis, who delivers a performance that is smart, subtle and superb in every way – she captures both the physicality required for the character, but infuses her with a wit and intelligence that was just as important for the proverbial “woman king”. She brings gravitas and elegance to a film that is built around her performance, and it’s destined to be one of her signature roles. However, as much as The Woman King is constructed for Davis, we simply cannot invalidate the rest of the ensemble – Thuso Mbedu continues her meteoric rise, being the source of a lot of pride within her native South Africa, and Lashanna Lynch is terrific as the spirited warrior who dedicates her life to helping train the next generation of fighters, to the point of putting herself in the way of danger for the protection of her fellow soldiers. It’s a film that is only as strong as the weakest member of its ensemble – and when that is barely applicable to anyone, it’s clear that the film has been a resounding success.

More than anything else, the quality that propels The Woman King is that it knows that it has a story worth telling, and it is going in pursuit of the best way to pay tribute to these people who have been obscured by history. The idea was not to make a film that only entertained, but shone a light on those who didn’t have it previously – history is written by the victor, and when most of these stories are told from a western perspective, it’s easy for the tales of people like the Agojie to be forgotten, relayed only to the back pages of history books, rather than being front-and-centre, like they should be. There are several components of The Woman King that feel genuinely compelling, both narratively and visually. There was clearly a lot of time spent bringing this world to life in a way that felt authentic – you’d think that filming on location would be the bare minimum, but it adds a level of authenticity in an industry where anything can be generated digitally. The film also pays attention to the balance between the story and the images – the writing is incredibly strong, and it is contrasted with some of the most stunningly beautiful fight scenes in recent memories, the kind where violence is used but refuses to be the primary method of showing the ferocity of these warriors. Instead, the film structures the fighting like one would choreograph a musical number, since this is essentially how to capture the audience’s attention. It’s hardly surprising that there are as many scenes of characters dancing (whether in defiance or celebration) as there are of them engaging in combat, since there’s a rhythm that guides the film and motivates these characters, which leads to a truly captivating experience that feels much more well-constructed than other attempts to explore similar themes.

Without any sense of hyperbole, the cinematic experience was made for films like The Woman King. Rarely have we encountered works that are so tailor-made for audiences to sit immersed, engaged with the images we’re seeing projected in front of us that transport us lost in the faraway land of the distant past. It entails a combination of factors – strong storytelling, assured direction and exceptional performances that are capable of taking note of the immense meaning that underpins this film, both in the specific story being told, and what it represents as a whole. The Woman King is not perfect – there are several liberties taken to make it feel more cinematic and cohesive, and it sometimes can feel slightly predictable. However, these are small flaws in an otherwise major film, a work of relentlessly poignant, meaningful artistry handcrafted by a team so enthusiastic about the opportunity to explore this world, the actual process of getting there is far from a concern. The Woman King is a film designed to give us insights into a moment in history that many of us are not fully aware of, and likely would not have known about had there not been a concerted effort to make a film all about these people, paying them the tribute they deserve, and then using whatever remains as the foundation for this wildly entertaining and truly riveting historical drama. It’s one of the most precise and thoughtful historical epics produced in recent years, a tightly-directed odyssey that celebrates Africa and feminity (which is especially important, considering many cultures are known to be very patriarchal, meaning that The Woman King presents a very different image of gender roles), and goes in search of deeper meaning in places that may be surprising for many of us. It’s a well-crafted film that keeps us engaged and entertained, informing us of the past and giving us the chance to encounter the astounding story of the Agojie and their exploits. The only disappointing aspect of The Woman King is that it was made now, not half a century ago – had cinema been given such stories to luxuriate it back, we may have been given more diverse stories a long time ago, which is always the key to producing art that is progressive, exciting and utterly exhilarating.