Vol. XXXII, Issue 3: Summer 2025 - Netflix & Its African Films

Table of Content

Faloju John Olabunmi and Eleshin Adedoyinsola Onaowunmi: Unpacking The Elements of Cultural Dominance in Feminism in Adebayo’s Jagunjaun ( The Warrior). 

Peter Akongfeh Agwu: Cultural Exchange and Hybridity in Francophone Cinema - A Comparative Study of African Films and French Cinema on Netflix.

Mirian Ngozi Alike : African Values in The Modern Era- A Philosophical Exploration of Igbo Cultural Heritage in Lion Heart (2018)

Editorial

Nigerian movies, popularly known as Nollywood, have been a staple of African cinema for decades. The industry’s breakthrough film, “Living in Bondage,” produced by Nek Videos around 1992, marked the beginning of Nollywood’s rise to prominence. Since then, Nigerian movies have gained widespread popularity not only in Nigeria and Africa but also in several other countries of the world. By 2016, Nollywood had become the second-largest film industry in the world, contributing a significant 580 million dollars to Nigeria’s Gross Domestic Product (GDP). Over the years, the industry has experienced tremendous growth, learning from past mistakes and honing its craft. Today, Nollywood is one of the largest film industries globally, producing over 1,000 films annually.

Moreover, with the existence of Nollywood there are many generations of talented actors, directors, and producers who showcase Nigerian stories and culture to a global audience. With its unique storytelling style and cultural authenticity, Nollywood has captured the hearts of millions, promoting Nigerian culture and talent worldwide.

Netflix an online streaming platform for movies and documentaries has made Nigerian movies gained widespread global recognition. With viewers in over 190 countries, Netflix has provided a vast platform for Nigerian films to reach a global audience. This exposure has fostered a greater appreciation for Nigerian culture, customs traditions, and storytelling which strengthens Nollywood’s position as a significant player in the global film industry.

John Olabunmi Faloju, Department of European Languages and Eleshin Adedoyinsola Onaowunmi of Department of Linguistics, African and Asian Studies, both of the University of Lagos, Akoka, Nigeria discussed Jagunjagun (The Warrior) which masterfully intertwines traditional beliefs with the complex contemporary tapestry of cultural disputes and socio-economic dynamics, expertly exploring the intricate relationship between ancient traditions and modern leadership challenges. At its core, the film navigates the poignant tension between age-old rituals and the evolving sociopolitical landscape, poignantly capturing the personal struggles individuals face when deciding whether to preserve cultural heritage or embrace new norms. Furthermore, the film’s characters embody competing cultural ideals, reflecting the diversity and ambiguities of Yoruba society. This rich clash of viewpoints and beliefs adds depth to the narrative, showcasing the multifaceted nature of cultural identity and highlighting the challenges of navigating a complex web of traditions, values, and beliefs.

Peter Akongfeh Agwu of Modern Languages and Translation Studies, University of Calabar, Nigeria and Diana-Mary Tiku Naan, Department of French , Cross Rivers State College of Education, Awi,Akamkpa, Nigeria, compare African Films and select Francophone Films on Netflix, examining the cultural identities of African and Francophone communities. Focusing on post-colonial themes, it explores how both African and French cinema innovate cultural expressions and dialogue. Through contemporary storytelling infused with cultural influences, both genres address identity, belonging, social justice, and the pursuit of personal and collective empowerment.

African films celebrate the rich cultural diversity and resilience of African societies, while French cinema delves into the complexities of French cultural identity amidst globalization, immigration, and cultural exchange. This comparative analysis highlights the unique perspectives and storytelling approaches of each genre, showcasing their contributions to the global cinematic landscape.

The Guest Editor Mirian Ngozi Alike who is from the Department of Philosophy, Nnamdi Azikiwe University Awka, Nigeria, elaborated on the movie Lionheart,  directed by Genevieve Nnaji. It is the story of modern Igbo society through the lens of Chief Ernest Obiagu’s bus industry. As he faces illness and old age, he entrusts his business to his daughter Adaeze and brother. Despite financial struggles, Adaeze proposes a merger with Mai Kano’s Kano- based bus industry, leading to a successful collaboration that revitalizes the business. Through her journey, Adaeze exemplifies resilience, commitment, hard work, and determination in the face of adversity.

The film highlights the unity and cooperation within the family, as Adaeze and her uncle work harmoniously to achieve their goals. Their partnership creates a supportive environment, enabling them to overcome challenges and ensure the bus industry’s sustainability. Lionheart showcases the power of family bonds, collaboration, and determination in the pursuit of success.

Guest Editor

Africa Update
Mirian Ngozi Alike PhD.
Department of Philosophy 
Nnamdi Azikiwe University Awka, 
Nigeria. 

Chief Editor 

Gloria Emeagwali PhD
Department of History
CCSU

Unpacking the Elements of Cultural Dissonance in Femi Adebayo's film "Jagunjagun (The Warrior)"

Faloju John Olubunmi
Department of European Languages,
University of Lagos,
Akoka, Nigeria.
Orcid: 0000-003-0346-5703
Emails: ifalou@unilag.edu.ng & jfaloju@gmail.com

&

Eleshin Adedoyinsola Omowunmi
Department of Linguistics, African and Asian Studies,
University of Lagos,
Akoka, Nigeria.
Orchid: 0000-0002-2253-1932.
Emails: deleshin@unilag.edu.ng & adedoyinonola@gmail.com

Introduction

Cultural dissonance has been described as the inconsistency and contradiction that occur when individuals or groups are exposed to different cultural values, beliefs, and behaviours. The Yorùbá people possess a rich cultural heritage, customs, norms, and traditions that set them apart from many other ethnic groups in Nigeria and Africa as a whole. These cultural heritage, customs, norms, and traditions are preserved and passed from one generation to another. Films have often been used to showcase the richness of the Yorùbá culture to the world since the early 1970s. Yorùbá films constitute key aspects of the culture of the Yorùbá people showing the diverse parts of Yorùbá people’s traditions, customs and cultural practices. Today, many a Nigerian filmmaker have mixed traditional cultural themes with modern storytelling in their works.

Femi Adebayo, a well-known actor and movie producer in Nigerian cinema, has skillfully incorporated Yorùbá customs and traditions into his movies, bringing out a vibrant tapestry of cultural storytelling. Jagunjagun (The Warrior), a film by Adebayo, delves into love, jealousy, hatred, betrayal, trust, friendship, revenge, cultural elements like dressing, cuisine, hair making by women, usage of proverbs and sayings and Yorùbá customs and traditions. This study explores the complicated ways in which the cultural elements and themes portrayed in the film are represented, and how Femi Adebayo navigates the challenges of custom, modernity, and interpersonal connections. Analysing the elements of cultural dissonance, and the presentation of certain Yorùbá customs and traditions in Femi Adebayo’s “Jagunjagun (The Warrior)” gives an exceptional opportunity to mirror the implications of Yorùbá traditional values on inter and intra-personal relationships as well as showcase the complex cultural dynamics that exist in traditional and contemporary Yorùbá society. It further aims to help bring to light the nuances that exist in Yorùbá culture and the impact of misconceptions on Yorùbá native speakers and non-native speakers. The problem of understanding the interplay between customs, traditions, human emotions and modernity in Femi Adebayo’s “Jagunjagun (The Warrior)” calls for the need to probe this Netflix movie on the Netflix platform, to correct the misrepresentation and depiction of Yorùbá culture in the movie.

This research article discusses the Yorùbá́ and their language, the review of relevant literature, theoretical framework, methodology, analysis and key scenes and thematic elements and findings. 

The Yoruba and their Language 

The Yorùbá language is tonal and as one of the Kwa languages, it belongs to the subgroup of the Niger-Congo language family. It is one of the three major languages in Nigeria - the others are Hausa and Igbo. The Yorùbá language includes many dialects that are mostly mutually intelligible. The standard variety of the language cuts across all the dialects and knits the Yorùbá people together” [1]. Faloju and Fadairo (2020), citing Fakoya (2008) assert that Yorùbá is used as a first language by more than an estimated 22 million people spanning the south-western parts of Nigeria, neighbouring countries of the Republic of Benin and Togo, and various diaspora groups outside the shores of Africa. [3] According to Gbadegesin (1983) cited in Balogun (2007), there exists a thriving Yoruba culture in South America and the Caribbean, especially Brazil and Cuba where the descendants of the unwilling immigrants to the new world have been able to keep their identities and guard their cultural heritage. [4] Yorùbá language is spoken as a native language in Nigerian states which include Lagos, Ondó, Kwara, Ògùn, Èkìtì, Ọ̀yọ́ and Ọ̀ṣun as well as in some parts of Kogí and Edo States. It is taught in schools, and used in the media and other administrative domains.[5]. In the view of Yussuf (2011), the Yorùbá language is avidly studied in Europe and America not only for intrinsic linguistic purposes but also for social reasons among Afro-Americans in the United States.[6] Similarly, Yussuf (2014) avers that traces of the Yorùbá language also remain in the oral literature of Yorùbá descendants now domiciled in Brazil, Cuba, Trinidad and Tobago as well as parts of the West Indies. [7]. The Yorùbá language is spoken by around thirty million (30,000,000) people in Nigeria as a first language and as Oyebade (2011) rightly observes, the number increases to thirty-two million (32,000,000) if second-language speakers are included. [8]

Review of Existing Literature

According to Haynes (2008, 2016) from the time cinemas were introduced, Africa has always been part of its global system[9]. It has indeed been a dumping ground for films from Hollywood, Bollywood and Hong Kong. In the view of Olayiwola (2011), there exist conflicting reports on the claims regarding the origins of the video cinema genre in Nigeria. [10]. The question of who started Nigeria's video revolution remains unsettled among indigenous film historians and critics. Although certain records link this genre to Kenneth Nnebue’s movie titled Living in Bondage which was produced in 1992, others aver that Yoruba filmmakers are the forerunners of Nigeria's burgeoning video film industry and accuse others of rewriting history to benefit their community. In the view of Akinsola (2021) filmmaking amongst the Yorùbá people has developed and evolved intensely over time transitioning from cinema to home video, and moving back to cinema premiers.[11]. Hefurther notes that this transition clearly shows the cyclic view of time inherent in Yorùbá traditions and it depicts the import of the Yorùbá worldview and cosmology.[12]. Taiwo (2019) and Bolarinwa (2023) accentuate the import of adapting Yorùbá oral folkloric traditions into video films to instil moral values and cultural heritage. [13]. They utilize the theory of intertextuality to connect Yorùbá folktales with current issues in society through the adaptation of films. Yorùbá film producers through their works have thoroughly explored the Yorùbá religion, arts, music, and spirituality. They have delved into the impact and the import of rituals ceremonies and oral traditions on the cultural identity of the Yorùbá. Furthermore, the resilience and adaptability of Yorùbá cultural practices in the face of modernization and globalization have also been worked upon by many scholars. The immense contribution of Yorùbá film producers in the preservation of the worldview, spiritual, cultural, moral and traditional values of the Yorùbá people cannot be over-emphasised. Their works have showcased the interconnectivity between modernity and culture using the Yorùbá language, as a platform for the dissemination of the cosmology, mythology and heritage of the Yorùbá globally. 

It is in the light of the above that this study probes the elements of cultural dissonance, depiction of the selected themes and representation of some Yorùbá traditions, customs and worldviews in Femi Adebayo’s “Jagunjagun (The Warrior)”.

Theoretical Framework

This research paper utilizes the cultural studies theory. Stuart Hall a cultural theorist and sociologist is one of the foremost researchers who has helped in developing this theory, especially through the way he emphasized the role of culture in the development of social and political dynamics. The cultural studies theory examines the creation, transmission and reception of cultural texts such as movies and literature. It is concerned with the construction, negotiation, and interpretation of culture in particular social, political, and historical settings. Numerous scholars and philosophers have further developed the postcolonial theory and cultural studies theory, adding to their evolution as frameworks used in comprehending and analyzing identity, love, culture and power play. Using the postcolonial theory and the cultural studies theory in analyzing the Nollywood movie titled “Jagunjagun (The Warrior),” this study provides an in-depth framework for comprehending the way the film handled several intricate topics, including love, jealousy, revenge, betrayal, customs, cultural identity, power dynamics, cultural dissonance and the representation of specific Yorùbá traditions as well as understanding the nuanced complexities inherent in identity and cultural representation. It also brings to light how the film builds, interprets, depicts, presents and negotiates Yorùbá cultural values, rituals, beliefs, identity and traditions.

Methodology

This section focuses on the qualitative research methodology to explicate the film’s intricacies, representation of Yorùbá traditions, and complex themes such as love, jealousy, hatred, betrayal, vengeance and deception. In addition, the section further focuses on the character relationship and communication among Gbọ́tíjà, Ògúndìjì and other characters in the movie as well as the cultural nuances that exist in the film. This results in a holistic assessment of Yorùbá customs, traditions and their portrayal in the context of love and representation observed in the movie. A thematic analysis is carried out in this study to highlight the depiction of the themes and their interconnection as well as recurring patterns in the movie. A qualitative coding interpretation approach is employed to reveal how cultural dissonance, love, vengeance, betrayal, jealousy, and other themes observed in the film connect with the depiction of Yorùbá customs and traditions, bringing to light the cultural import of these themes. 

Analysis and Discussion of Key Themes

The movie Jagunjagun (The Warrior) is set in a traditional and rural Yorùbá society vividly capturing the kernel of Yorùbá culture and traditions. This is evident in the language, music, and costumes used in the movie. The film’s plot shows the intricacies of the movie which revolves around two main characters Gbọ́tíjà and Ògúndìjì ọkùnrin ogun (a man of war) a brutish and oppressive warlord. The film's representation of Yorùbá traditions is nuanced, providing insight into a civilization that is sometimes disregarded by mainstream media. The movie Jagunjagun (The Warrior) produced by Femi Adebayo explores the Yorùbá traditions, customs, and themes such as love, revenge, vengeance, betrayal, jealousy, hatred, deception, and power dynamics. 

This movie, on the Netflix platform, is a Yorùbá action /adventure film displaying Yorùbá traditions, legends and language. The costumes and the settings are intricately designed to show the richness of Yorùbá culture and to convey viewers to the time the film was set. Jagunjagun (The Warrior) narrates the story of a young man called Gbọ́tíjà whose aspiration was to become a strong formidable Warrior. This aspiration of his made him enlist in an elite army under the leadership of Ògúndìjì. Gbọ́tíjà in the film encounters the wrath of the brutish psychotic Ogundiji and the love of a ferocious woman, the adopted daughter of Ògúndìjì, whose spirit and body Ògúndìjì uses in battlefields against his enemies. The film boasts of top Yorùbá Nollywood actors such as Femi Adebayo, Ibrahim Yekini Itele, Fathia Balogun, Debo Adebayo, Lateef Adedimeji, Bukunmi Oluwashina, Muyiwa Ademola, Odunlade Adekola, Adebayo Salami, and Yinka Quadri. 
The film is characterized as a violent action epic, on Netflix. It was shot on a location in southwest Nigeria and it was directed by Tope Adebayo and Adebayo Tijani.

The focus of this section is on explicating the key themes highlighted above as well as unpacking the cultural dissonance in the film

Table I

Cultural dissonance is depicted in the film "Jagunjagun (The Warrior)" through the interactions of the characters and the progression of the story. This film gives a vivid portrayal of Yorùbá culture which was glaringly represented in the dress of the actors, the language used in the film, the usage of ethnic identification marks, and tattoos, as well as the hairstyle made by all the actors and the Yorùbá food used in the film. Traditional Yorùbá attires were used in the movie to also reflect Yorùbá culture.

The film “Jagunjagun (The Warrior)” digs into the nuances of Yorùbá society, combining traditional beliefs with contemporary concerns to create a rich tapestry of cultural disputes and socioeconomic dynamics. One component of cultural dissonance in "Jagunjagun (The Warrior)" is the juxtaposition of ancient traditions with modern challenges of leadership. The film navigates the tension between age-old rituals and the changing sociopolitical landscape, illustrating the problems that individuals experience while deciding whether to preserve cultural heritage or adapt to new norms.
Furthermore, the film's characters represent competing cultural ideals, representing the Yorùbá society's diversity and ambiguities. This clash of viewpoints and beliefs provides dimension to the tale and demonstrates the multifaceted character of cultural identity.

Misrepresentations of Yorùbá traditions.

In the film, Jagunjagun (The Warrior) one notable misrepresentation of Yorùbá tradition can be seen during Ajé festival in the movie. When Gbọ́tìjà and his team arrived at Ajé village, the villagers were already in the mood of celebration, celebrating the Ajé deity that is regarded as the deity of wealth, prosperity and blessings. This deity is one of the deities of Yorùbá land celebrated in traditional and contemporary Yorùbá societies. The successful invasion of the Warriors at such a time is a wrong representation of the deity. One would expect that there would be some sort of power combat between the priest and the warriors but Ajé was presented as a powerless deity who could not defend nor protect its worshippers. According to (Sobande nd) although Ajé is not a deity of war, battle, revenge or vengeance, it is a highly revered deity that is said to be as powerful as other two hundred and three (203) other deities put together. 

Findings 

The plot of Jagunjagun (The Warrior), a movie by Femi Adebayo streamed on Netflix, is intricate and features a relatable hero, a formidable villain, and all the right obstacles in all the right places. The acting performances are commendable, and the film is an excellent portrayal of culture, blending mythology, lore, and fiction, magically. This study points to the misrepresentation of Yorùbá traditions particularly during the worship of the deity Ajé. It also reveals the import of Orí (spiritual head/destiny) in Yorùbá cosmology and worldview and of Yorùbá traditional rites. It further reveals the import of Orí bibọ in Yorùbá worldview and cosmology. It shows that Yorùbá traditions are sine qua non to the progress and development of human beings and society as a whole. The study further brings to light some of the themes embedded in the movie. It also shows the relationship between characters in the movie and the nuances of the Yorùbá society. Finally, this study re-establishes the existence of cultural dissonance in "Jagunjagun (The Warrior)" as a juxtaposition of ancient traditions with modern challenges.

Conclusion

In this article, we have carried out a critique of Femi Adebayo’s film Jagunjagun (The Warrior). We have also examined the cultural dissonance in the film. We showed the usage, interpretation and significance of the themes of this film and this led to the examination of the misrepresentation of Yorùbá traditions and cultural dissonance in the film. We showed that the Ajé deity was presented as a weak deity incapable of protecting its adherent worshippers. We unravelled the components of cultural dissonance in the film.

References

1. Balogun, O. (2007). The concepts of Ori and human destiny in traditional Yoruba thought: A soft deterministic interpretation. Nordic Journal of African Studies, 16(1), 116–130.
2. Faloju, J. O., & Fadairo, O. Y. (2020). Name as a designate of culture in traditional and contemporary Yoruba society. South African Journal of African Languages, 40(1), 40–46. https://doi.org/10.1080/02572117.2020.1733823
3. Fakoya, A. (2008). Endangerment scenario: The case of Yorùbá in California. Linguistic Notes, 33(1), 1–23.
4. Gbadegesin, O. (1983). Destiny, personality and the ultimate reality of human existence: A Yoruba perspective [Paper presentation]. Second Perennial Meeting of the Institute of Ultimate Reality and Meaning, Toronto, Canada.
5. Haynes, J. (2016). Nollywood: The creation of Nigerian film genres. University of Chicago Press.
6. Olayiwola, A. (2011). Nollywood at the borders of history: Yoruba travelling theatre and video film development in Nigeria. The Journal of Pan African Studies, 4(5), 183–195.
7. Akinsola, I. (2020). Nollywood reception preferences among selected multilingual Nigerian undergraduates in the University of Ibadan: Does ethnicity still matter? American Journal of Qualitative Research, 4(1), 39–49. https://doi.org/10.29333/ajqr/8210
8. Taiwo, A. (2019). New media, old artistry: The adaptation of Yorùbá folktale narrative strategies in video films. Afrika Focus, 32(1), 35–49. https://doi.org/10.1163/2031356X-03201004
9. Bolarinwa, A. (2023). Orality in Yoruba films: A study of selected films of Akinwumi Isola. Tydskrif vir Letterkunde, 60(3). https://doi.org/10.17159/tl.v60i3.14418
10. Yussuf, O. (2011). Basic linguistics for Nigerian languages. Shebiotimo Publications.
11. Yussuf, A. (2014). Communicating with grassroots on contemporary discourse on humanitarian operations and crises management: Yoruba as a case study. Ihafa: Journal of African Studies, 6(1), 45–60.
12. Oyebade, F. (2011). Yoruba phonology. In O. Yussuf (Ed.), Basic linguistics for Nigerian languages (pp. XX-XX). Shebiotimo Publications.

Cultural Exchange and Hybridity in Francophone Cinema: A Comparative Study of African Films and French Cinema on Netflix

Peter Akongfeh Agwu
Department of Modern Languages and Translation Studies,
University of Calabar, Calabar.
rcid: 0000-0002-1406-3753
Email: agwupeterakonfe@unical.edu.ng

&

Diana-Mary Tiku Nsan
Department of French,
Cross River State College of Education,
Awi, Akamkpa.
ORCID: 0009-0006-0225-5471
 Email: dianamary198230@gmail.com

Introduction

“Francophone” cinema occupies a unique position, characterized by its rich diversity of cultures, languages, and cinematic traditions. Defined broadly as cinema produced in French-speaking regions, Francophone cinema incorporates a wide range of cinematic expressions from Africa, Europe, the Caribbean, and beyond. Fundamental to “Francophone” cinema is a multifaceted dynamics of cultural exchange and hybridity, wherein filmmakers traverse the intersections of multiple identities and negotiate the legacies of colonialism and globalization.“Francophone” cinema transcends national borders and linguistic boundaries, including films produced in French-speaking countries and regions across the globe. From the streets of Paris to the markets of Dakar, from the picturesque scenery of Quebec to the vibrant neighborhoods of Kinshasa, “Francophone’ cinema mirror the diverse cultures, histories, and experiences braided together by the French language. Whether evaluating themes of identity, migration, or social justice, “Francophone” filmmakers engage with a diverse array of narratives and perspectives that defy easy categorization.

However, cultural exchange and hybridity is key to “Francophone” cinema, which serves as catalysts for creative innovation and cross-cultural dialogue. As filmmakers struggle with questions of identity and representation, they draw inspiration from a multitude of sources that blend elements of storytelling with contemporary aesthetics, and incorporate diverse cultural influences into their cinematic narratives. In a world increasingly shaped by globalization and digital connectivity, “Francophone” cinema serves as a vital space for investigating the complexities of cultural encounter and transformation. This offers audiences a window into the dynamic relationship between local traditions and global currents.

In the ever-evolving space of film distribution and consumption Netflix has emerged as a dominant force that is reshaping the way audiences engage with cinema and television content. With its vast library of titles spanning diverse genres, languages and cultural backgrounds, Netflix has become a global platform for cinematic storytelling, reaching millions of viewers around the world. The significance of Netflix as a platform lies in its unparalleled reach and accessibility, offering audiences unprecedented opportunities to discover and explore films from diverse cultural contexts, including “Francophone” cinema. Netflix's global presence and streaming model has democratized access to Francophone cinema, allowing viewers from different linguistic and cultural backgrounds to engage with films that may have otherwise been inaccessible or overlooked. Through curating a diverse selection of titles, including African films and French cinema, Netflix has played a pivotal role in amplifying the voices of filmmakers and promoting cross-cultural exchange on a global scale. 

While there exists a substantial body of articles published on various aspects of “Francophone” cinema, there remains a notable gap in the literature regarding the comparative analysis of African films and French cinema available on Netflix. Existing scholarship has predominantly focused on individual national cinemas within the Francophone sphere or broader trends in global cinema, overlooking the specific dynamics of cultural exchange and hybridity between African and French cinematic traditions on digital streaming platforms. Consequently, there is a dearth of comprehensive studies that systematically examine how filmmakers from diverse cultural backgrounds negotiate their artistic identities and articulate hybrid narratives within the context of Netflix, thus leaving a significant void in our understanding of contemporary Francophone cinema.

Against this backdrop, the emergence of Netflix as a dominant platform for film distribution and consumption presents a unique opportunity to address this gap in the literature through a comparative study of African films and French cinema. By conducting a comparative analysis, this study seeks to fill the need for a better understanding of the ways in which filmmakers navigate cultural boundaries and negotiate hybrid identities in the ‘Francophone” cinematic domain.. The objectives of the study are:

1. to examine the ways in which African filmmakers and French directors represent cultural exchange and hybridity in their cinematic productions available on Netflix.
2. to identify thematic motifs, narrative strategies, and visual aesthetics that characterize African films and French cinema on Netflix.
3. to compare and contrast the portrayal of cultural identity and postcolonial themes between African and French cinematic traditions on Netflix.
4. to analyze how filmmakers negotiate their artistic identities and engage with questions of cultural representation within the context of a global streaming platform.

Historical Overview of Francophone Cinema

“Francophone” cinema has a rich and diverse history that spans continents and cultures that reflects the elaborate exchange of colonial legacies, cultural exchange, and artistic innovation. From its early beginnings in the silent era to its current prominence on digital streaming platforms like Netflix, it has evolved through various stages, each marked by distinct movements, filmmakers, and thematic concerns. According to Elsaesser and Haener’s (2010), “Francophone” cinema is that which provides a comprehensive overview of global cinema, including its Francophone dimensions.[1].The authors trace the origins of “Francophone” cinema to the early experiments of filmmakers like Georges Méliès and the Lumière brothers, to highlight the emergence of distinct national cinemas in France, Belgium, and North Africa. Another influential work is Thompson's (2013) French Cinema: A Critical Filmography, Volume 1, which offers a detailed examination of French cinema's evolution from the silent era to the present day. Thompson's study discusses the socio-political contexts that have shaped French cinematic traditions, including the impact of colonialism and post-colonialism on cinematic representations of identity and cultural exchange.[2]

Furthermore, Gugler's (2014) Film: A Critical Introduction" addresses a broader perspective on global cinema, with specific attention to “Francophone” contributions. Gugler examines the transnational dimensions of Francophone cinema, highlighting the interconnectedness of French-speaking regions and the diverse array of cinematic expressions that have emerged from these cultural intersections.[3] Moreover, Diawara's (1992) African Cinema: Politics and Culture presents important viewpoint on the historical development of African cinema in the “Francophone” context. Diawara traces the evolution of African filmmaking from its colonial origins to its postcolonial renaissance to emphasize the ways in which African filmmakers have negotiated their artistic identities and engaged with questions of cultural representation and hybridity.[4]. These existing studies provide a foundation for understanding the historical trajectory of Francophone cinema and its role in shaping cultural narratives and identities, particularly in the context of digital streaming platforms like Netflix, where African films and French cinema converge in new and dynamic ways.

In the context of evolution and development, “Francophone”  cinema has undergone a dynamic evolution, shaped by changing socio-political contexts, technological advancements, and shifts in cultural production that can be traced through various stages, each characterized by distinct movements, aesthetic trends, and thematic concerns. An emblematic study that traces its evolution is Martin's (2018) French Cinema from Its Beginnings to the Present, which gives a comprehensive overview of French cinematic history. Martin examines the evolution of French cinema from its early pioneers to the contemporary auteurs, highlighting key moments of innovation, experimentation, and cultural transformation. [5]. Furthermore, Vincendeau's (2001) Encyclopedia of European Cinema conveys important perspectives into the development of Francophone cinema within the broader European context. Vincendeau evaluates the interconnectedness of French-speaking regions and the diverse array of cinematic expressions that have emerged from these cultural intersections, from the avant-garde experiments of the 1920s to the contemporary transnational productions of the 21st century. [6]

Moreover, Aitken's (2013) The French Cinema Book provides a detailed survey of French cinema's evolution and development, with contributions from leading scholars in the field. Aitken traces the historical trajectories of French cinematic movements such as Poetic Realism, the French New Wave, and contemporary trends in French cinema, offering insights into the aesthetic, cultural, and political dimensions of “Francophone”  filmmaking. [7]. Oscherwitz and Higgins' (2015) The A to Z of French Cinema studies a comprehensive reference guide to the key figures, films, and movements in French cinematic history. Through its alphabetical entries, the book provides a detailed overview of the evolution of French cinema, encompassing everything from the silent era classics to the cutting-edge experiments of contemporary filmmakers. [8].

Theoretical Framework: Concepts of Cultural Exchange and Hybridity

The theoretical framework of this study is grounded in the concepts of cultural exchange and hybridity, which provide a lens through which to analyze the dynamic interconnectedness of cultural influences, identities, and narratives in “Francophone” cinema. Cultural exchange refers to the process by which cultural elements, ideas, and practices are shared, negotiated, and transformed through interactions between different cultural groups. It includes various forms of cultural interaction like trade, migration, colonization, and media dissemination, all of which contribute to the exchange and circulation of cultural goods and meanings across geographic and temporal boundaries.

Hybridity, on the other hand, refers to the blending, mixing, and reconfiguration of cultural elements and identities to create new and hybrid forms of cultural expression. It arises from the encounter between different cultures, resulting in the creation of syncretic, transnational, and transcultural identities that challenge binary notions of cultural purity and authenticity. Drawing on theorists such as Homi Bhabha, Stuart Hall, and Michel de Certeau, this study employs the concepts of cultural exchange and hybridity to analyse how African filmmakers, and French directors negotiate cultural boundaries and articulate hybrid identities within their cinematic productions. Furthermore, this theoretical framework allows for an investigation of the ways in which Netflix as a global streaming platform facilitates and mediates cultural exchange and hybridity within “Francophone” cinema. By providing access to a diverse array of films from different cultural backgrounds Netflix serves as a site of cultural encounter and negotiation, enabling audiences to engage with and explore the complexities of its cultural expression in new and dynamic ways. Overall, the concepts of cultural exchange and hybridity offer a theoretical framework through which to analyze the multifaceted dynamics of cultural identity, representation, and transformation within “Francophone” cinema, while also highlighting the transformative potential of digital platforms like Netflix in shaping the contemporary cinematic sphere.

Cultural studies provide a multidisciplinary approach to understanding the production, circulation, and reception of cultural texts within broader social, political, and economic contexts. Drawing on the works of Stuart Hall,[9] Raymond Williams, [10]and Michel Foucault,[11] cultural studies offer insights into the ways in which cultural meanings are constructed, negotiated, and contested within specific historical and cultural frameworks. By applying cultural studies perspectives, this study aims to analyze the ways in which African films and French cinema on Netflix reflect and refract cultural discourses, ideologies and power relations and how audiences interpret and engage with these texts in diverse cultural contexts. 

Methodology: Comparative Analysis Approach

The methodology employed in this study is a comparative analysis approach, which involves systematically comparing and contrasting African films and French cinema available on Netflix. This approach is chosen for identification of patterns and trends, evaluation of cultural exchange and hybridity, and contextualization within global cinema. Comparative analysis allows for the identification of patterns, trends, and similarities/differences between African films and French cinema in terms of narrative themes, visual aesthetics, and cultural representations. By examining multiple films from different cultural backgrounds, this approach enables an enhanced understanding of the diverse cinematic expressions within the “Francophone” sphere. Also, a comparative analysis provides a framework for examining the ways in which cultural exchange and hybridity are manifested in African films and French films. 

In the context of identification and selection of films on Netflix, the process involves the following steps: a preliminary search is conducted on the Netflix platform using relevant keywords such as “African cinema,” “French cinema,” “Francophone films,” etc. This search helps to identify a broad range of films that fall in the scope of the study. Also, the search results were then screened and filtered based on specific criteria, including relevance to the research objectives, availability of English subtitles and representation of diverse cinematic traditions in Africa and France. Additional films were identified through consultation of external film databases, academic resources, and recommendations from experts in the field of “Francophone” cinema. 

Analysis of African Films on Netflix: Themes and Motifs

The analysis of African films on Netflix begins with an overview of the selected films, which represent diverse cinematic traditions, cultural contexts, and thematic concerns within the African continent. The selected films include: Atlantics (2019) - Directed by Mati Diop: Set in Dakar, Senegal, Atlantics explores themes of migration, love, and spiritual possession as a young woman embarks on a perilous journey across the ocean to seek a better life in Europe, Vaya (2016) - Directed by Akin Omotoso: Set in Johannesburg, South Africa, Vaya follows the intertwining stories of three strangers who board a train to the city in search of a better life, only to find themselves caught up in a web of violence and betrayal, The Boy Who Harnessed the Wind (2019) - Directed by Chiwetel Ejiofor: Based on a true story, The Boy Who Harnessed the Wind follows a young Malawian boy who builds a wind turbine to save his village from famine, defying the odds and challenging the limitations imposed by poverty and drought. Timbuktu (2014) - Directed by Abderrahmane Sissako: Set in Mali, Timbuktu depicts the impact of jihadist occupation on a small desert community and the resilience of its inhabitants as they resist oppression and strive to maintain their way of life.[12]

The analysis of African films on Netflix reveals several recurring themes and motifs that reflect the cultural, social, and political realities of the African continent such as migration and displacement, resilience and survival, cultural identity and tradition, and social and political commentary. etc. Many of the selected films explore themes of migration, displacement, and the search for a better life outside of Africa. Atlantics and Vaya depict the challenges faced by migrants as they navigate perilous journeys in search of economic opportunities and social stability. The themes of resilience and survival are central to films like The Boy Who Harnessed the Wind and Timbuktu, which highlight the determination of individuals and communities to overcome adversity and reclaim agency in the face of hardship and oppression. African films on Netflix often celebrate cultural identity and tradition, foregrounding the richness and diversity of African cultures and heritage. Timbuktu and Vaya portray the importance of cultural practices and community bonds in sustaining resilience and resistance against external threats. Many of the selected films offer sharp social and political commentary on issues such as governance, corruption, religious extremism, and social inequality. Timbuktu and Vaya critique the destructive impact of authoritarian regimes and religious fundamentalism on individual freedoms and community cohesion. Summarily, the analysis of African films on Netflix highlights the richness and complexity of African cinematic expressions that enlightens people on the diverse narratives, themes, and motifs that shape the African cinematic field. 

Analysis of French Cinema on Netflix: Themes and Motifs

The analysis of French cinema on Netflix provides an overview of a diverse selection of films that represent the richness and complexity of French cinematic tradition. Amélie (2001) - Directed by Jean-Pierre Jeunet: A whimsical romantic comedy set in Paris, Amélie follows the misadventures of a young woman named Amélie as she embarks on a quest to bring happiness to those around her while navigating the intricacies of love and human connection.[13]. Blue Is the Warmest Colour (2013) - directed by Abdellatif Kechiche: Winner of the Palme d'Or at the Cannes Film Festival. Blue Is the Warmest Colour invokes the passionate and tumultuous relationship between two young women, Adele and Emma, as they navigate love, desire, and identity in contemporary France. [14]. The Intouchables (2011) - directed by Olivier Nakache and Éric Toledano, is based on a true story. The movie is a heartwarming dramedy that follows the unlikely friendship between a wealthy quadriplegic man and his caregiver, an ex-convict from the Parisian suburbs, as they defy societal expectations and find joy in each other's company.[15]. La Haine (1995) - directed by Mathieu Kassovitz is a gritty urban drama set in the housing projects of suburban Paris. La Haine depicts the lives of three friends from diverse ethnic backgrounds as they struggle with issues of racism, police brutality, and social marginalization in contemporary France.[16]

The analysis of French cinema on Netflix also unravels diverse recurring themes and motifs that reflect the cultural, social, and political realities of contemporary France. They include identity and alienation, love and relationships, social commentary, and urban life and cultural diversity. Many of the selected films explore themes of identity and alienation, particularly among marginalized and disenfranchised communities. La Haine and The Intouchables depict characters who struggle to find their place in society and navigate the complexities of French identity in the face of social exclusion and discrimination. Love and relationships are central themes in French cinema, as evidenced by films like Amélie and Blue Is the Warmest Colour. These films explore the complexities of romantic and familial relationships, highlighting the joys, struggles, and sacrifices inherent in human connection. Also, French cinema often serves as a platform for social commentary and critique, addressing pressing issues such as inequality, injustice, and political disillusionment. La Haine offers a searing indictment of systemic racism and police violence, while The Intouchables challenges stereotypes and prejudices surrounding disability and class. The urban landscape of Paris and its suburbs feature prominently in French cinema, reflecting the vibrancy and diversity of contemporary French society. La Haine and The Intouchables provide stark portrayals of life in the banlieues, to capture the energy, chaos and contradictions of urban life in France. Through their exploration of these themes and motifs, French films on Netflix offer compelling knowledge about the cultural, social and political dynamics of contemporary France, while also showcasing the creative talents of French filmmakers and the enduring appeal of French cinema on the global stage.

Representation of Cultural Identity in French films on Netflix

The representation of cultural identity in French cinema on Netflix is evident through specific scenes, dialogues, and cultural references depicted in the films. In Amélie, the film offers a whimsical portrayal of French cultural identity through its celebration of Parisian landmarks, such as Montmartre and the Canal Saint-Martin, as well as iconic French symbols like the Eiffel Tower and the Moulin Rouge. The use of French language and colloquial expressions further reinforces the film's immersion in French culture. Similarly, Blue Is the Warmest Colour showcases the complexities of French cultural identity through its depiction of everyday life in contemporary France, including scenes set in French schools, cafés, and art galleries. The characters' discussions about French literature, philosophy, and politics provide insights into the intellectual and cultural landscape of modern France. In The Intouchables, cultural identity is represented through the juxtaposition of French haute cuisine and suburban street food, highlighting the diversity of culinary traditions within French society. The film also addresses issues of class and race in France, as seen in the interactions between the wealthy, white protagonist and his immigrant caregiver from the banlieues.

La Haine offers a gritty portrayal of French cultural identity within the context of suburban youth culture and hip-hop music. The characters' use of slang, street art and fashion reflect the influence of urban subcultures on French identity, while the film's exploration of racial tensions and police brutality speaks to broader social issues in contemporary France. These representations illustrate how French cinema on Netflix authentically represents cultural identity through visual, auditory, and narrative means. 

Furthermore, French cinema on Netflix employs a variety of narrative strategies and stylistic elements to engage audiences and convey thematic depth. Amélie utilizes whimsical storytelling and fantastical imagery to create a sense of magic and wonder, drawing viewers into the quirky world of its titular character. Director Jean-Pierre Jeunet employs playful camera angles, vibrant colors, and whimsical music to enhance the film's whimsical tone and visual style. Blue Is the Warmest Colour employs a naturalistic and intimate approach to storytelling, with long takes and handheld camera work creating a sense of immediacy and intimacy. Director Abdellatif Kechiche focuses on the emotional journey of the characters, using close-ups and subtle gestures to convey their inner turmoil and desires. In The Intouchables, directors Olivier Nakache and Éric Toledano balance humor and drama to create a heartfelt and uplifting narrative. The film's use of humor and wit helps to humanize its characters and navigate sensitive topics such as disability and class difference with empathy and sensitivity. La Haine employs a gritty and realistic style, with handheld camerawork and naturalistic performances lending the film a sense of documentary-like authenticity. Director Mathieu Kassovitz uses dynamic editing and striking visuals to capture the energy and chaos of urban life in the banlieues, while also exploring the characters' internal struggles and conflicts.

Comparative Analysis: Identification of Similarities and Differences

The comparative analysis of African cinema and French cinema on Netflix reveals both similarities and differences in terms of thematic concerns, narrative techniques, and cultural representations.In thematic concerns, the similarities are that both African cinema and French cinema often explore themes of identity, belonging, and social justice. Films from both regions frequently depict the struggles of marginalized communities, the complexities of interpersonal relationships, and the quest for personal and collective empowerment. In terms of differences, while African films may place greater emphasis on themes of migration, post-colonialism, and cultural resilience, French cinema may focus more on themes of existentialism, romanticism, and social critique. Additionally, French films may examine historical events and cultural traditions specific to France, while African films may draw on a broader range of African cultural contexts and histories.

In narrative techniques, both African films and French films often employ innovative narrative techniques and stylistic elements to engage audiences and convey thematic depth. Techniques such as nonlinear storytelling, character-driven narratives, and social realism are common across both cinematic traditions. However, African films may incorporate elements of magical realism, oral storytelling, and indigenous cultural practices into their narratives, reflecting the rich oral and visual traditions of African storytelling. In contrast, French films may draw more heavily on European literary and cinematic influences, incorporating elements of surrealism, symbolism, and existential philosophy into its narratives.

In the context of cultural representations, both African films and French films authentically represent cultural identity through visual, auditory, and narrative means. Scenes depicting cultural rituals, traditions, and everyday life provide audiences with insights into the diverse cultural landscapes of Africa and France. In differences, while African films may foreground the cultural diversity and resilience of African societies, French films may focus more on the complexities of French cultural identity within the context of globalization, immigration, and cultural exchange. Additionally, French films may offer nuanced critiques of French society and politics, while African films may engage with broader questions of colonial legacy, globalization, and cultural hybridity. Overall, while there are notable similarities between African and French cinema in terms of thematic concerns, narrative techniques, and cultural representations, there are also significant differences that reflect the unique historical, social, and cultural contexts of each cinematic tradition. 

Interpretation of the Study’s Key Results

The investigation into the comparative analysis between African and French cinema on Netflix yields several key findings. The analysis reveals that both African and French cinema engage in processes of cultural exchange and hybridity, drawing on diverse cultural influences, traditions, and narratives to create rich and multifaceted cinematic experiences. This exchange enriches the “Francophone” cinematic landscape, fostering a sense of cultural interconnectedness and mutual exchange among filmmakers from diverse linguistic, ethnic, and cultural backgrounds. The analysis demonstrates the dynamic interplay of cross-cultural influences within “Francophone” cinema, with filmmakers from Africa, Europe, the Caribbean, and beyond collaborating and exchanging ideas to produce films that transcend national boundaries and reflect a shared artistic sensibility. This transnational connectivity fosters a sense of solidarity and mutual exchange among “Francophone” filmmakers, while also highlighting the diverse cultural contexts and histories that inform Francophone cinematic expression. Both African and French cinema authentically represent cultural identity through visual, auditory, and narrative means, providing audiences with insights into the diverse cultural landscapes of Africa and France. Scenes depicting cultural rituals, traditions, and everyday life offer nuanced reflections on the complexities of “Francophone” identities and experiences, highlighting the fluidity and dynamism of cultural identities in a globalized world. 

Conclusion

The comparative analysis of African and French films on Netflix has revealed that both African and French cinema engage in processes of cultural exchange and hybridity, drawing on diverse cultural influences, traditions, and narratives to create rich and multifaceted cinematic experiences. The study has identified that cross-cultural influences in “Francophone” cinema highlight the dynamic interplay of diverse cultural traditions, identities, and narratives, fosters a sense of cultural interconnectedness and mutual exchange among filmmakers from diverse linguistic, ethnic, and cultural backgrounds. The study concludes that the representation of cultural identity in African and French cinema authentically reflects the complexities of identities and experiences, offering nuanced insights into the diverse cultural landscapes of Africa and France. The analysis contributes to existing knowledge within the field of cinema studies by providing new insights into the dynamics of cultural exchange, hybridity, and representation within “Francophone” cinema, expanding our understanding of the complexities and diversities of the “Francophone” experience, and highlighting the value of theoretical frameworks such as post-colonialism, cultural studies, and globalization studies for analyzing Francophone cinematic expression, offering conceptual tools for understanding the multifaceted interactions between culture, identity, and power and demonstrating the importance of interdisciplinary and comparative methodologies for studying “Francophone” cinema, as well as the benefits of engaging with diverse cultural, linguistic, and regional contexts. However, the analysis focuses primarily on films available on Netflix, which may not fully represent the breadth and diversity of “Francophone” cinema. The study is limited by the availability of data and resources, as well as the constraints of time and scope. To address these limitations and build upon the findings of this study, future research could expand the scope of the analysis to include a broader range of films and cultural contexts within the “Francophone” world including films from regions such as the Caribbean, North Africa and the Middle East.

References

1. Elsaesser, Thomas, and Malte Hagener. Film Theory: An Introduction through the Senses. New York: Routledge, 2010.
2. Thompson, Kristin. French Cinema: A Critical Filmography, Volume 1. Bloomington: Indiana University Press, 2013.
3. Gugler, Josef. Film: A Critical Introduction. Boston: Pearson, 2014.
4. Diawara, Manthia. African Cinema: Politics and Culture. Bloomington: Indiana University Press, 1992.
5. Martin, Sarah. French Cinema from Its Beginnings to the Present. London: Bloomsbury Academic, 2018.
6. Vincendeau, Ginette, ed. Encyclopedia of European Cinema. New York: Routledge, 2001.
7. Aitken, Ian, ed. The French Cinema Book. London: British Film Institute, 2013.
8. Oscherwitz, Dayna, and MaryEllen Higgins. The A to Z of French Cinema. Lanham: Scarecrow Press, 2015.
9. Hall, Stuart. Representation: Cultural Representations and Signifying Practices. London: Sage Publications, 1997.
10. Williams, Raymond. Keywords: A Vocabulary of Culture and Society. New York: Oxford University Press, 1983.
11. Foucault, Michel. The Archaeology of Knowledge. New York: Routledge, 1972.
12. Timbuktu. Directed by Abderrahmane Sissako. Les Films du Worso, 2014.
13. Amélie. Directed by Jean-Pierre Jeunet. France: UGC-Fox Distribution, 2001.
14. Blue Is the Warmest Colour. Directed by Abdellatif Kechiche. France: Wild Bunch, 2013.
15. The Intouchables. Directed by Olivier Nakache and Éric Toledano. France: Gaumont, 2011.
16. La Haine. Directed by Mathieu Kassovitz. France: Canal+, 1995.

African Values in The Modern Era: A Philosophical Exploration of Igbo Cultural Heritage in Lion Heart (2018)

Mirian Ngozi Alike

INTRODUCTION

Nollywood films are immersed and rooted in Nigerian cultural settings. The films portray positive and negative attitudes exhibited by members of the society through the cast. Nigerian movies anchor in a communal setting. These movies are stories from life experiences and reality, shown in English, Igbo, Yoruba, and Hausa languages. Nigerian movies have been recognized globally through the Netflix streaming platform. Most films showcased have been of great high quality and content with well-profiled characters. Netflix has welcomed “the influx of high-quality content in Nigerian movies” (Omoera & Emeagwali, 2025). Within the African continent, diverse cultures and ethnic groups exist. Africans are deeply rooted in their cultural heritage, which probably distinguishes them from other continents. African culture is intricately woven with religion—that is, its culture conflates with religion, thereby resulting in customs and traditions that are deeply rooted in spiritual beliefs.

In 2018, the movie Lionheart made its debut on Netflix, showcasing the rich cultural values of the Igbo people of Nigeria. The film highlighted important values such as respect for the girl child, hard work, perseverance, cultural tradition, respect for elders, and traditional practices. The notion that streaming services afford wide audiences a chance to sample overlooked pockets of world cinema gained some support with the release of Lionheart, a Nigerian feature now on Netflix. For many American viewers, the film was an introduction to Genevieve Nnaji—one of the biggest stars of the Nigerian movie industry, or Nollywood (New York Times, 2019).

Lionheart showcases the rich cultural heritage of the Igbo people, a southeastern Nigerian ethnic group renowned for their distinctive language, delectable local cuisine, vibrant music, and traditional attire. The Igbo people are admired for their exceptional work ethic, resilience, dedication, and entrepreneurial spirit, particularly embodied in the Igba boi apprenticeship system. This ancient tradition allows young individuals to learn a trade under the guidance of an experienced master, known as Oga. After completing their apprenticeship, they are rewarded with the opportunity to establish their own businesses.

In the movie Lionheart, Adaeze navigates a male-dominated bus industry in contemporary society, challenging traditional gender norms. Her journey reflects the Igbo values of hard work, determination, and entrepreneurship, inspiring a new generation of women to break into traditionally male-dominated fields.

The movie showcases exceptional themes, characters, and storytelling, offering a window into African cultural identity. Through the film, we glimpse values, beliefs, and practices that reveal the complexities of African heritage, including traditional beliefs on gender, family, and social hierarchy. By examining African cultural philosophy through cinema and storytelling, we see how film both reflects and shapes society, providing a unique lens through which to understand the African experience.

To buttress the work further, a simple definition of some basic words will be provided.

CULTURE

Culture can be defined as all the ways of life, including arts, beliefs, and institutions of a population that are passed down from generation to generation. Culture has been called "the way of life for an entire society." As such, it includes codes of manners, dress, language, and religion (Naik et al., 2023).

NOLLYWOOD

Nollywood is the Nigerian filmmaking industry and the second-largest global film industry in terms of output after that of India. It produces about 2,500 films per year, but because of piracy, its annual revenue—about $600 million in the mid-2010s—amounts to a mere fraction of that of Hollywood, which produces between 300 and 900 films per year (Omoera & Emeagwali, 2025).

NETFLIX

Netflix is one of the world’s leading entertainment services, with 278 million paid memberships in over 190 countries, including TV series, films, and games across a wide variety of genres and languages. Members can play, pause, and resume watching as much as they want, anytime, anywhere, and can change their plans at any time (Netflix, n.d.).

INSIGHTS INTO LIONHEART: A NIGERIAN MOVIE

Lionheart, produced by Genevieve Nnaji, tells the story of Adaeze Obiagu (played by Nnaji), who inherits her father Ernest Obiagu's (Chief Peter Edochie) bus industry. However, after Chief Ernest's heart attack, he appoints his brother, Goodwill (Nkem Owoh), to co-manage the company with Adaeze. The two have differing approaches, with Goodwill being outgoing and jovial, while Adaeze is introverted and reserved. As the company faces financial struggles, a rival company, owned by Igwe Paschal (Kanayo O. Kanayo), attempts to acquire it. Adaeze proposes a merger with another company, which Alhaji Mai Kano agrees to, saving the business. The film showcases the strength and resilience of an African woman in a male-dominated industry.

Adaeze replaces her father’s business by taking responsibilities as a girl child. The educated Adaeze showed that a girl child is valuable, irrespective of the greater value attributed to male child dominance in Igbo African culture. The idiom that Nwanyi bu Ife—which literally means that a girl child is important—played an important role here.

The strength of Adaeze as a woman was entrusted to her by a divine force, chi, known as a personal god or destiny helper, which enabled her to achieve her desires in a male-dominated field. This force, believed to guide every individual, plays a significant role in shaping their lives. In many circumstances, people acknowledge the presence of a guardian angel, affirming its active role in their lives.

Family Bonding: A Cornerstone of Strength

The importance of family bonding and unity is seen in the Obiagu family's close relationships. Chief Obiagu's decision to hand over his business to his daughter and brother highlights the value of family in African society, where unity and togetherness are essential even in times of crisis. In the movie Lionheart, family bonding is a pervasive theme that underscores the importance of unity and togetherness. The relationship between Adaeze and her parents is a testament to the power of family bonds. Adaeze seeks guidance from her mother in times of uncertainty, demonstrating the trust and reliance that stems from a strong family foundation. This bonding extends beyond the immediate family, as Chief Obiagu entrusts his business to Adaeze and welcomes his brother, Godswill, into the workplace, fostering a sense of unity and cooperation.

Family bonding is a vital aspect of creating a stable and peaceful family environment, promoting harmonious coexistence and teaching valuable lessons in living together. By depicting a strong, supportive family unit, Lionheart highlights the significance of nurturing family relationships, which serve as a bedrock for personal growth, success, and overall well-being. Hence, in a family, one’s frame of mind is to have self-consciousness of one's individuality within this unity as the absolute essence of oneself, with the result that one is in it not as an independent person but as a member (Hegel, 2001, p. 158).

Gender Roles: Defying Conventional Norms

Butler (1990) defined gender as "a construed identity, a performative accomplishment which the mundane social audience, including the actors themselves, come to believe and perform in the mode of belief" (p. 6).

By Butler’s definition, gender is seen as an achievement that is believed and enacted by both the individual and society. Adaeze, the protagonist in Lionheart, exemplifies this concept. Despite facing numerous challenges, she successfully performed her role and created her own identity through her accomplishments. By her actions and achievements, she defined herself and earned recognition in her society. She perceived opportunities and overcame them, ultimately emerging triumphant.

The movie challenges traditional gender roles in Igbo society, where male dominance is prevalent. However, the film breaks this mold by empowering Adaeze, a female character, to take charge of her father's business. Despite the odds, Adaeze perseveres and excels, showcasing her capabilities and diligence. This subplot underscores the importance of gender equality and challenges traditional gender stereotypes in African culture.

Simone de Beauvoir (1949), a French philosopher, wrote extensively in her book The Second Sex concerning gender roles. Beauvoir emphasized that "one is not born a woman, but rather becomes one" (p. 283). In this context, it suggests that a woman's identity is shaped by her choices, actions, and accomplishments. A woman's expectations are aligned with her thoughts, ideas, ambitions, and achievements. Adaeze, from the previous example, thus becomes the person she aspires to be, defying traditional gender roles.

However, Butler (1990) elaborated on what Beauvoir meant concerning gender and their roles, stating:

"There is no essential gender at all underneath these social expectations of womanhood and manhood, as gender is performed based on social ritual. It is not, therefore, that a woman's essence or sex must be differentiated from social expectations of womanhood, but that the notion of anything actually inherent about womanhood at all should be discarded" (p. 6).

This suggests that gender should have a universally accepted definition, transcending cultural boundaries where males often hold dominance. Adaeze embodied this empowering spirit, achieving success in a male-dominated industry.

In Igbo African culture, traditional gender roles are deeply ingrained, with specific expectations for men and women. However, Adaeze's family, despite being rooted in Igbo culture, resides in an urban setting, where these gender norms are challenged. In a remarkable display of progressiveness, Chief Ernest Obiagu boldly defies convention by entrusting his bus industry—a male-dominated domain—to his daughter Adaeze. This decision is a testament to Adaeze's exceptional qualities and her father's recognition of her capabilities, transcending gender biases. By doing so, Chief Obiagu sets a precedent for reevaluating traditional gender roles and embracing the potential of women in leadership positions.

Butler (1990) explained about being female and capability when she stated:

"The political assumption that there must be a universal basis for feminism, one which must be found in an identity assumed to exist cross-culturally, often accompanies the notion that the oppression of women has some singular form discernible in the universal or hegemonic structure of patriarchy or masculine domination" (p. 3).

The ancient philosopher Plato, in The Republic, partly advocated for women’s rights, suggesting they should receive equal political status and educational opportunities. He believed women should be empowered to reach their full potential as individuals, not necessarily competing with men but rather complementing them. Adaeze’s father, Chief Ernest Obiagu, shared this Platonic view, supporting the empowerment of women and helping Adaeze to fulfill her potential.

Dedication to Duty: A Hallmark of Excellence

In Lionheart, Adaeze, a young and vibrant woman, demonstrates that women can excel in roles traditionally held by men. She is dedicated to her duties as the daughter of the soil, born to her father. With determination and hard work, she showcases her competence, hard work, and fearlessness in her efforts to preserve her father’s bus industry legacy.

Immanuel Kant, in one of his categorical imperatives, opined:

"Act so that you treat humanity, both in your own person and that of another, always as an end and never merely as a means."

He went further to say, "Do the right thing for the right reason because it is the right thing to do" (Kant, 1998, p. 2).

Adaeze, the protagonist of Lionheart, embodies the virtues of a young woman with a strong moral upbringing. Her unwavering dedication to her duties and her father's bus industry is a testament to her excellent character. This resonates with Immanuel Kant's philosophical ideas on obligation and duty, as outlined in his First Categorical Imperative. Kant's principles emphasize the importance of treating individuals as ends in themselves, rather than means to an end. In the context of Adaeze's story, her dedication and commitment to her work lead to success, illustrating the power of duty and responsibility in achieving goals. Through Adaeze's character, the film showcases the value of hard work, loyalty, and dedication, inspiring viewers to embrace these qualities in their own lives.

Rich Igbo Cultural Heritage

Cultural heritage is handed over from generation to generation; it is the uniqueness of a culture and its characteristics. Heritage is a property, something that is inherited - passed down from previous generations. In the case of cultural heritage, the heritage does not consist of money but of culture, values, and traditions. Cultural heritage implies a shared bond, our belonging to a community. It represents our history and our identity- our bond to the past, to our present, and the future (Schuh et al., 2018).

Lionheart pays tribute to the rich cultural heritage of the Igbo people, set in Igbo African cultural settings. The film showcases the importance of Igbo culture and traditions that value hard work and determination.

The strength of Adaeze as a woman was entrusted to her by a divine force, chi, known as a personal god or destiny helper, which enabled her to achieve her desires in a male-dominated field. This force, believed to guide every individual, plays a significant role in shaping their lives. In many circumstances, people acknowledge the presence of a guardian angel, affirming its active role in their lives.

Culture, as defined by Taylor, is commonly understood as "the people's way of life." It encompasses the language, food, and dress of a particular community, as well as their religion, ideologies, customs, traditions, and norms. In essence, culture represents the collective beliefs and values of a people, shaping their identity and distinguishing them from others. It is a dynamic and evolving concept, passed down through generations, although modernization has led to the adaptation and revision of certain aspects. Importantly, every individual is born into a cultural setting and, as they grow, learn and absorb the cultural practices and traditions that surround them.

The Lionheart film is a vibrant tapestry of Igbo cultural heritage and values, skillfully woven into the narrative of a modern Igbo family. With unwavering commitment, entrepreneurial spirit, and unrelenting hard work, this family exemplifies the best of Igbo culture. The iconic Atilogwu dance, with its distinctive steps and graceful movements, is a testament to the richness of Igbo tradition. The film also showcases the beauty of the Igbo language and the flavor of traditional Igbo cuisine, highlighting the uniqueness of this ancient culture. Through its celebration of Igbo heritage, Lionheart honors the past while inspiring a new generation to embrace their roots with pride.

Understanding: A Bridge Between Cultures

The Lionheart film celebrates cultural heritage and diversity, weaving a rich tapestry of modern Igbo and Hausa traditions. The story follows a modern Igbo family from Enugu, steeped in vibrant cultural settings, and a wealthy Hausa family from Kano, as they come together to revive the ailing Lion Heart Bus company through a strategic partnership with IG Bus company. Through their shared endeavors, both families demonstrate the power of mutual understanding, bridging cultural divides and achieving success through collaboration and cross-cultural exchange. By showcasing the beauty of cultural diversity and the strength of unity, Lionheart inspires audiences to embrace understanding and empathy in a richly diverse world.

Resilience: A Hallmark of Igbo Entrepreneurial Spirit

Resilience has philosophical underpinnings that believe in embracing difficulties and seeing them as opportunities for growth (APA, n.d.).

The movie embodies the Igbo spirit of resilience, determination, and entrepreneurship, highlighting the bus industry’s resurgence through a dedicated team. Adaeze’s self-discovery shines through, defying gender biases and stereotypes. The film inspires viewers to embrace these values and strive for excellence.

Resilience is a quintessential trait embedded in the DNA of successful Igbo entrepreneurs. Adaeze epitomizes this spirit, demonstrating unwavering determination to preserve her father's legacy despite the formidable obstacles posed by Igwe Pascal’s self-serving interests. With unrelenting focus and perseverance, she stays the course, ultimately achieving her goal and honoring her family's heritage. Adaeze's resilience serves as a testament to the indomitable will of Igbo entrepreneurs, inspiring others to emulate her resolve and fortitude in the face of adversity.

Spirit of Brotherhood: A Bond of Unity

Despite all odds, the Obiagu Family exemplifies brotherhood and the spirit of Ubuntu, a testament to the power of family bonds and community. Communal spirit was inherent in the movie. This can be explained in the context of Igwebuike, which according to Kanu (2017), is "based on African complementarity—that is, the manner of being in African ontology. It is a world in which individuating differences must work towards a corporate existence where 'I' does not stand as 'I'; this kind of difference does not divide nor does it constitute a threat but rather unites and gives hope that future existence would have meaning" (p. 1).

The Lionheart film beautifully illustrates the spirit of brotherhood within the Obiagu family. Chief Obiagu, Andrew, Mrs. Obiagu, Adaeze, and Obiora all embody this spirit, demonstrating the power of familial unity in achieving common goals and success. Through their collective efforts and unwavering support for one another, the Obiagu family showcases the unbreakable bonds of brotherhood, inspiring audiences to cherish and nurture family ties. By celebrating this spirit, Lionheart highlights the importance of family unity in overcoming challenges and achieving triumph.

The unity is in the strength of Igwebuike. Onebunne and Alike (2020) expounded that Igwebuike is possible when individuals congregate, defined by a common interest as a goal. The individuals, therefore, make up the Igwe (populace, unison, people) that exercises or has enormous strength (Ike) (p. 115).

CONCLUSION

In conclusion, Netflix and online streaming platforms have profoundly impacted the lives of their users, connecting a global community and raising the bar for content quality. The diverse range of films showcased on Netflix has elevated viewers' expectations, inspiring a desire for more compelling storytelling. A notable example is Lionheart, a Nigerian film that proudly showcased Igbo cultural heritage, highlighting the importance of hard work, determination, resilience, and consistency. Through Adaeze's triumphant journey, the film demonstrates that these values can lead to overcoming adversity and achieving success.

References

American Psychological Association (APA). (n.d.). Resilience. https://www.apa.org/topics/resilience

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