A Multilayered Critique of the Lionheart Movie by Genevieve Nnaji

 

The Lionheart Movie is quite a monumental one in Nollywood generally in the sense that it not only broke new grounds in Women’s storytelling perspective but it also engaged intensely with themes like Power tussle, inter-ethnic relationships, Sexism and so on. Initially, the movie looked like the regular Igbo-based Nollywood movie with the same storyline but going further, it represented the narrative of a woman who is trying to navigate a system that is Patriarchal (ruled by men) and also Capitalist system in order to protect her family’s legacy. In this review, we will be analyzing the Lionheart movie through four different interpretive lenses. First, the Formal Media lens, will break down the six core technical and artistic elements of film i.e cinematography, mise en scene, sound design, editing, performance and narrative structure. Then we’ll further examine the movie through Stuart Hall’s Encoding and Decoding Lens, the Oppositional Gaze and the Marxist Lens exploring how the film represents or resists dominant ideologies. This multi-layered review will show Lionheart as both a cinematic and ideological intervention in both Nigerian and Global Media Industry.

We’ll first be going into the Formal Media Analysis and I’ll be starting with the Cinematography aspect. The cinematography in the Lionheart can be described as vibrant, clean and culturally grounded. The Cinematographer who is Yinka Edward, made use of natural lighting in most cases and also warm palettes that portray energy, passion and warmth which also emphasizes the grounded, everyday realism of the film’s Enugu setting. We also see quite a number of wide/establishment shots of the streets in the city and also aerial views of the roads and houses. This reinforces a sense of regional pride because they’re showing off the lands and its beauty. We could also see the use of Over-the-Shoulder shots, sharp/blurry shots. There were some place in the movie where the focus was put on a particular subject and rest within the frame were blurred out which means the camera man is calling our attention/focus to the person speaking or what he/she is saying. This is seen at the dining table scene in the movie (59:05- 1:02:40) where Chief Obiagu was talking and the camera focused on him while blurring out the other people in the frame. At some other points, we could how the camera zoomed in on a particular subject establishing some form of psychological focus and a way of drawing the audience’s attention to the subject’s facial expression. This was displayed in 14:30 in the movie where Ada’s father just appointed her uncle as the new MD of the company and some emotions were running through her mind, her facial expression also showed her displeasure in the decision made. There were wide/establishment shots that showed the grandeur of Ada’s father’s house and other luxurious buildings and also close-up shots that drew our attention to emotional aspects in Adaeze’s journey. All these visual choices contributed to a tone that was both aspirational and intimate, celebrating Nigerian urban life while telling a personal story.

Also, I’ll like to look into the Mise en Scene of the movie. The Mise en Scene which means the props and setting in the movie emphasizes professional and also domestic environments like the office setting and also the house setting. All this reflects how Adaeze shuffles between her two lives as a businesswoman and also as a daughter. One other thing was the wardrobe setting in the movie. We could see that Ada’s wardrobe was strictly comprised of sleek corporate outfits and her father’s own in contrast consists of his traditional outfits and this serves as visual representations of modernity meeting tradition. The office settings too are neat, with practical furniture and minimal decoration symbolizing some level of class, order and competence. The family scenes like the dining table scene and the food they ate (Igbo traditional Abacha and Pepper Sauce) reflected emotional intimacy and cultural rootedness. Some Props like the company files, the buses and also the local food items help ground the narrative in real Nigerian life.

The Sound Design in Lionheart is modest but effective. In a large part of the movie, there was good use of the Igbo music which symbolized traditional dignity and framed the audience mindset to a perspective that the movie is about an Igbo environment/setting as the Obiagu people are from the Igbo culture. For example, the music used at 03:40 is an Igbo song being played while giving us aerial shots of the Enugu city, the farmlands, the roads and houses too. All this already tells the audience to expect an Igbo-based movie. The movie also made use of diegetic urban sounds like horns, footsteps engines and human voices which established that the environment is a busy one and also on where the inhabitants are working class people. There’s also a use of soundtracks to depict emotions per time. The Dialogues are clear with occasional shifts into Igbo and Hausa languages which depicts ethnic diversity and authenticity. Silence is also used meaningfully, especially in the times where they had business meetings to create a sense of realism and emotional weight.

Not to forget the Editing and Performance in the movie. Editing in Lionheart is conventional but smooth, maintaining linearity and clarity. Cuts are clean and unobtrusive, prioritizing story flow over stylistic flair. Scene transitions often rely on establishing shots or dialogue, ensuring spatial coherence. The pacing is deliberate, reflecting the calculated nature of corporate negotiation and familial responsibility. There is minimal use of montage or visual effects, allowing the performances and script to carry the emotional and thematic weight. For Performance, Genevieve Nnaji’s performance as Adaeze is poised, subtle, and emotionally resonant. She balances strength with vulnerability, portraying a woman torn between tradition and ambition. Veteran actors like Pete Edochie and Nkem Owoh add gravitas, delivering performances that oscillate between stern authority and comic relief. The naturalistic acting style across the cast strengthens the film’s realist tone and allows viewers to focus on character-driven storytelling.

Using Stuart Hall’s Encoding/Decoding theory, we learn that filmmakers put certain messages into their work (this is encoding), but viewers can interpret those messages in different ways (this is decoding). For example, the film tries to show Adaeze as a strong, intelligent woman who can lead a company in a male-dominated world. Some viewers may accept that message as it is. Others may see it differently — they may appreciate Adaeze’s effort but feel like she still had to get approval from the men in her life. Another group may take a more critical view, asking why the system around her never really changes. This shows us that one movie can send many different messages depending on who is watching and what they believe.

Looking at Lionheart from a Marxist point of view, which focuses on class and money, we see another layer. The film is about a family trying to save their transport company from going bankrupt. They are wealthy business owners who are trying to protect what they’ve built. But even though the film focuses on family values and teamwork, it still takes place in a world where money and power rule. The rich people like the board members, business partners, and family owners are the ones making all the decisions. Meanwhile, the workers and drivers don’t get much attention. From this angle, Lionheart seems to support a business system that helps the rich stay rich, while the poor stay mostly unseen. So, even though the story seems to promote fairness and unity, it doesn’t really challenge the bigger system that causes inequality.

Finally, when we use Bell hooks’ Oppositional Gaze, we focus on how Black women see and respond to what’s shown on screen. In most movies, women (especially Black women) are often shown in limited or stereotypical ways. But Lionheart does something different. Nnaji, who directed and acted in the movie, made sure her character, Adaeze, is shown as smart, confident, and focused on business, not as someone chasing romance or looking pretty for the camera. This allows women viewers, especially African women, to see themselves in a new and empowering way. But if we connect this with the class issue from the Marxist view, we also see a limit Adaeze’s success happens within a wealthy, business-owning family. Her kind of power might not be possible for the average Nigerian woman. So, while the movie is empowering, it still works within a system that favors the rich. This shows us how issues of gender, race, and class all connect in one story and how viewers can respond to it in different, thoughtful ways.

In Closing, Genevieve Nnaji’s Lionheart is an important and well-made film that changes how people see both Nigerian movies and African women. With its strong visuals, storytelling, sound, and acting, it presents a true and polished picture of Nigerian life. The film follows the ideas of bell hooks’ Oppositional Gaze by putting a confident woman at the center, without making her a stereotype. Using Stuart Hall’s theory, we also see how different people can understand the film in different ways, depending on their background. And from a Marxist point of view, the movie shows both the power and the limits of working within a rich, business-focused system. Overall, Lionheart is more than just a movie, it’s a cultural message that encourages viewers to think more deeply about power, gender, and representation in African film.