'The story [Ryan Coogler] tells is unwieldy and strange, sometimes thrilling yet inescapably somber,' writes JustinCChang.
The story he tells is unwieldy and strange, sometimes thrilling yet inescapably somber. As diplomacy fails, secrets exchange hands and forces clash on land and at sea, you never quite forget that you’re witnessing not just a busy narrative juggling act, but also an imperfect solution to an impossible problem.
“Black Panther” ended with Wakanda agreeing to lower its isolationist shield and join the international community. As the new movie opens, the kingdom is witnessing the costs of that concession, thanks to the global hunger for vibranium, the all-powerful metal that fuels Wakanda’s techno-supremacy.
Ramonda’s presence on the Wakandan throne, with Shuri serving as her closest consort, builds on a feminist foundation that was already well laid in the earlier movie. For all its paternalistic Sturm und Drang , the first “Black Panther” reveled in the power of its women warriors and leaders, all of whom return here in full force and in some cases with key reinforcements.
The clash between the forces of Wakanda and Talokan — a mighty African kingdom and its Mesoamerican counterpart — introduces an intriguing new cultural-mythological dynamic and raises all manner of thorny questions about race and allyship among characters of Black, Indigenous and Latin American descent. (It also opens up new worlds of aesthetic possibility for costume designer
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