Critical review of Lion Heart employing four lenses

 

LENSES USED: Formal Media Analysis (Cinematography, Mise en Scène, Sound Design Editing, Performance and Narrative Structure), Oppositional Gaze, Male Gaze and Marxist Critique.

 

Genevieve Nnaji's "Lionheart" (2018), the first Nigerian film on Netflix, it presents a narrative of female empowerment within the male centered structures of Nigerian business and family. It is celebrated for its cultural representation, it tries to show a different kind of Nigerian story, something that’s more corporate, modern, and clean, while still being very Nigerian, I want to argue that the film does a great job of telling a woman-centered story without being loud or dramatic, and it balances between African culture and modern professionalism, so I will be examining the film "Lionheart" using these four lenses that I have chosen selectively out of the five given to me: Formal Media Analysis, dissecting the film's technical and aesthetic elements; Oppositional Gaze, exploring how the film might be interpreted by female viewers challenging dominant patriarchal ideologies; Marxist lens, analyzing the film's depiction of class, labor, and economic power; and Laura Mulvey, examining the intended and potentially negotiated meanings within the Nigerian context.  

In looking at the formal media analysis I can say that the mise-en-scene is rich in Nigerian cultural details, from the clothes and hairstyles to the food and music. The setting of the Lionheart Transport company is designed to reflect the company's history and importance within the community. The costuming is carefully chosen to reflect the characters' personalities and social standing. Adaeze's (Genevieve Nnaji) attire is professional and sophisticated it reflects her competence and humility while her father's (Pete Edochie) clothing is traditional and authoritative; it emphasizes his position as the patriarch. The setting and costumes say a lot about the characters and their world. In the office scenes, everyone is dressed in formal clothes, showing they are in a corporate space. But when the characters are at home or at cultural events, they wear traditional Igbo attire. This mixture shows how the characters are trying to balance their Nigerian identity with a modern, business lifestyle. Even the design of the office and the way the camera is used in Lionheart is very calm and neat. The shots are mostly medium or close-up, especially when characters are having serious conversations. For example, when Adaeze is in the boardroom, the shots are steady and professional, showing that she is serious and competent. This is different from what I normally see in some Nigerian movies where the camera might be shaky or rushed. The clear visuals help focus more on what the characters are saying and doing the buses from the company shows that this is a serious transport business. When I analyzed the sound design, I could see that it is crucial to establishing the film's atmosphere and creating a sense of realism. Diegetic sound, such as the lively music of Nigerian gatherings, create a more cultural experience. Non-diegetic music, consisting of contemporary Nigerian music and traditional Igbo melodies, which was sung by Phyno who played the son to Pete Edochie, who did not like the fact that his son was making music instead of having a business venture but at the end he enjoyed his melodies when his son sang a song titiled OBIAGU which was used as a non-diegetic music at the end of the film because it is a real song that the musician that played his son sang in real life, it is used to underscore emotional moments and enhance the cultural context. The sound mixing is well-balanced, ensuring that dialogue is clear and audible despite the ambient noise. However, the use of sound effects is sometimes predictable and lacks subtlety.

Talking about the editing, it is straightforward and efficient, the editing is smooth and helps the story flow well. There are no random or confusing cuts. Most scenes transition naturally with fade-outs or short pauses. The story follows a straight line, from the father falling ill, to Adaeze and her uncle trying to save the company, to the final resolution. The editing supports this flow and gives enough time for viewers to understand each scene. The acting in Lionheart feels very natural. Genevieve Nnaji as Adaeze plays the role with calm confidence, she doesn’t overact but you can still feel her frustration and strength. Pete Edochie, who plays her father, brings a lot of presence and authority. Nkem Owoh also adds humor, but he doesn’t take over the serious tone of the film. The performances help us take the story seriously, especially since it's not a loud or action-heavy movie. "Lionheart" follows a classic three-act structure. The first act introduces the characters and establishes the central conflict: Adaeze's desire to prove herself as a capable leader. The second act presents the challenges and obstacles that Adaeze and Godswill must overcome to save the company from financial ruin. The third act resolves the conflict, with Adaeze successfully negotiating a merger and proving her leadership skills. The narrative is straightforward and predictable, relying on familiar tropes of the business drama.

The Oppositional Gaze is a theory by bell hooks that says Black women should watch films in a way that resists how they are often ignored or wrongly shown. In Lionheart, Genevieve Nnaji directs herself and tells a story where a Black woman is the main character and not just someone’s girlfriend or mother. This is very different from the usual way women are shown in Nigerian films. In this film, Adaeze is not sexualized at all. The camera doesn’t focus on her body or make her look like an object of appeal. Instead, she is seen working, thinking, talking, and solving problems. That’s powerful because it lets young Nigerian girls see a woman who is in charge and respected for her brain, not her looks. Also, the film includes Igbo language and culture without apologizing. The characters mix English and Igbo, and that’s important because it shows African culture as strong and capable, not something that needs to change to please foreigners.

Then, according to Laura Mulvey, many films are made to please male viewers by showing women as beautiful things to look at. Lionheart doesn’t really do that. Adaeze isn’t filmed in a sexy or romantic way. But even though the film avoids this gaze, there are still some small ways that male approval is needed. For example, even though Adaeze is smart and works hard, her father still picks her uncle to lead the company instead of her. She doesn’t fight him. She accepts it quietly. Later, it is the same uncle Godswill, who helps her prove herself. This shows that even though she’s the main character, her power still comes with help from men. Also, the film doesn’t explore Adaeze’s personal or emotional life much. She has no love interest or romantic story. That might seem feminist at first, but it also makes her character feel a bit one-sided. She is only shown through her role at work, not as a full person who might have desires and feelings outside her job.

Taking a look from a Marxist point of view, Lionheart supports capitalism more than it questions it. The main goal in the film is to save a company, not to help workers or talk about poverty. We see drivers, office workers, and mechanics in the background, but they never speak or have their own stories. The story is about the rich people (Igwe Pascal and Chief Ernest) at the top trying to keep their business alive. Even when the company is about to collapse, no one talks about what will happen to the workers if it shuts down. The focus is always on family legacy and reputation. Adaeze’s fight is not against the system, it’s to protect her place inside it. The film shows us a hardworking, smart woman, but it doesn’t question how the system works or who it leaves behind. In short, Lionheart shows us a cleaner and more "Western" version of Nigerian success, but it leaves out the voices of the working class. It’s more about maintaining the system than changing it.

 

In summary, Lionheart is a really important film in Nollywood because it shows that Nigerian films can be calm, smart, and powerful without being loud or dramatic. Through formal media analysis, we see how the film’s structure and visuals support its serious tone. From bell hooks’ lens, we understand how the film gives space for a Black woman to lead without being objectified. Laura Mulvey’s male gaze reminds us that patriarchy is still present, even if it’s not obvious. And from a Marxist view, we see that while the film supports success, it doesn’t do much to challenge inequality. Overall, Lionheart gives us a quiet kind of rebellion. It doesn’t scream, but it makes a strong statement about women, culture, and respect in a Nigerian world.