The Woman King is a compelling historical film that explores the intersections of gender, power and mobility in nineteenth-century Dahomey. The Agojie warriors defy traditional gender roles by assuming military and political positions; however, their political mobility comes at the cost of social immobility. Unlike their male counterparts, these women must relinquish marriage, motherhood and personal autonomy to gain influence. Applying the concept of borderscapes, this study examines how the film constructs a dynamic space where gender and power are continuously negotiated. Generals Nanisca and Nawi navigate this liminal space, ultimately challenging patriarchal structures and advocating for a vision of leadership that integrates both masculine and feminine attributes. By framing The Woman King as a cinematic borderscape, this study argues that women’s political agency emerges not only through resistance but also through strategic negotiation within established power structures. The film suggests that true transformation of gender hierarchies, economic systems and political power occurs when women’s leadership is fully recognized. Only when women embrace their feminine attributes do they succeed in crossing political borders into the male-dominated sphere, transforming it into an egalitarian space. Ultimately, the film reimagines historical narratives, positioning Black women as central figures in reshaping political and social landscapes.
Asmaa Alshehri (Wed,) studied this question.