Beyond shaping popular culture, Black Panther opened space for communities to imagine an alternate history where strength and resilience replace victimhood. It offered a view of an African nation, Wakanda, that triumphed over colonial pressures while protecting its own people. An elite cadre of women, bold and unyielding, carved out their own code and challenged patriarchy from within.
These Dora Milaje are not mere creations of screenwriters or comic book legends who inspired two Black Panther films. They echo a lineage inspired by historical models, including Agojie warriors who, for nearly two centuries, stood as Dahomey’s fierce guardians. In the mid-19th century, Dahomey built a formidable force that numbered thousands, a testament to disciplined training and unwavering loyalty.
By their decisive combat methods, these women asserted authority across their homeland, a region we now know as Benin. They demonstrated military prowess that enabled Dahomey to project power beyond its borders.
The new film King Woman casts Agojie at the center of a sweeping adventure inspired by real events. It blends epic spectacle with intimate melodrama, aiming to celebrate female empowerment and racial pride. Director Gina Prince-Bythewood described a shift in Hollywood’s portrayal of Africa during a TIFF presentation, noting that the movie presents dark-skinned women confronting male dominance and prevailing, which marks a radical departure from stereotype.
It took more than seven years for King Woman to materialize, a journey that benefited from the success of Black Panther and the confidence it inspired among investors. Viola Davis, who serves as a producer and star, explained that significant financial backing was essential to tell this story authentically. She emphasized that Black people, especially Black women, have often been underrepresented and that taking risks was necessary to change that narrative.
The Agojie tradition is said to have origins in the 17th century, initially focusing on elephant hunting before Dahomey integrated these formidable women into its army during the 19th century as men departed to other fronts. This female force achieved numerous battlefield victories until French colonial forces arrived in 1890, a turning point echoed in the film as Dahomey faced subjugation. The colonial era also altered social dynamics, restricting education and leadership opportunities for women.
As Prince-Bythewood has recalled, European historians long silenced Africa’s past, shaping a legacy that diminished the role of courageous women like the Agojie. The film seeks to illuminate those histories and restore visibility to a legacy that deserves recognition.
While the U.S. premiere generated spirited discussion, critics acknowledged a nuanced debate around the Agojie. Some pointed to historical complexities, including the Agojie’s involvement in the broader slave economy that financed power, while others argued that the film foregrounds empowerment and resilience without erasing difficult truths. The depiction sparked conversations about how history is framed and who gets to tell it, a challenge Prince-Bythewood addresses by acknowledging the layered past and the responsibility of storytelling.
In response to critiques, the filmmaker underscored the necessity of presenting a more complete picture. She argued that early narratives often dehumanized African figures and minimized European roles in slavery. The goal, she explained, is to broaden understanding and inspire a more informed conversation about Africa’s history and its influence on cinema today.