By Daylin Delgado

It’s almost an unanimous decision: Black Panther is the epitome of brilliance in every aspect of modern filmmaking. Director Ryan Coogler went above and beyond to create a movie that is breaking several glass ceilings, and is changing the future of Marvel. The all-black main cast—Chadwick Boseman as the titular protagonist, Michael B. Jordan as his rival, Letitia Wright as his younger sister—is merely the cherry on top.

The story follows T’Challa, or Black Panther (Chadwick Boseman), during his rise to power after his father passes away, which happened during Captain America: Civil War (2016). It is an in-depth look at the flourishing, hidden city of Wakanda and its tribes, and the almost relatable family life of being teased by mothers and little sisters of the great and powerful Black Panther.

In classic Marvel fashion, there is flowing humor throughout the film, most of which fits most comfortably in the character of Princess Shuri, T’Challa’s little sister (Letitia Wright). Shuri stops at nothing to tease her brother about everything from ex-loves to his new kingly duties. Other characters contribute to humor with jokes about topics including cannibalism versus vegetarianism, and colonization.

From its introduction, it’s clear to see the technologically advanced Wakanda is caught between tradition and modernization. The recluse city is adorned by ancient structures of each tribes’ animal gods—the panther being the prominent figure to represent T’Challa’s ruling tribe—and garments influenced by traditional African attire. All the while, the city is overflowing with high-speed, magnetic trains with sonic barriers to protect the rare and fragile vibranium, hoverbikes, and healing equipments that can close even bullet wounds in seconds according to Shuri, the head of technological advancements.

It’s the age-old conflict of moving forward—in this case, revealing their city to the world with hopes of helping others—or sticking to tradition that has kept them safe for centuries. T’Challa is faced with this challenge, with each side personified in his ex-love and humanitarian Nakia (Lupita Nyong’o) and the tribes’ elders, respectively. It’s a concept that is subtly presented to the audience through the visual contrasts aforementioned as well as through the use of traditional African influence versus modern hip-hop influence in the instrumental tracks in the film.

As the deep as the divide is, the transitions between each side is effortless. The characters smoothly switch between their native language and English, between traditional garments and modern clothing, between traditional music and modern music. Even Erik Killmonger, formerly N’Jadaka, is able to fluently speak the Wakandan language despite his American roots.

The transitions in every fight as also beautifully choreographed, scenes sliding from one character’s battle to the next without the disrupting the fighting style of each character. Audience see T’Challa’s strength, Nakia’s nimbleness, and Oyoke’s (Dania Gurira) strategy all in one breath without feeling overwhelmed by the action.

Though the star of the movie is Blank Panther, the king, the man, the real stars of the film are the women. It didn’t only preach females having ability to take on any role and protect themselves—it showcased female empowerment in every possible scene. Oyoke is the greatest warrior, Shuri is the most intelligent inventor, and Ramonda (Angela Bassett) single-handedly takes on the role of mother and queen.

The female warriors aren’t scantily clad in see through fabric; they have full body armor, strength, and skills to take on men double their size. They continuously save T’Challa and protect him in battle. Better yet, he trusts them to protect him in battle without hesitation.

However, they don’t lose any of their femininity as most movies force to do—they still cry, they still love, they still crumble when they lose. Moreover, the men aren’t emasculated because the women are strong—they are also warriors, they are also leaders, they are also capable of love and emotion.

There’s also power in the film’s beauty. Each color is vibrant and distinctive to the tribes and characters, and adds to the appeal of any character through subliminal, cultural meanings of the colors.

T’Challa’s suit, designed and improved by his talented younger sister, illuminates with purple, the color most commonly associated with royalty which shows his rightful place as king. Meanwhile, Oyoke is always dressed in red, the color associated with passion, strength, and leadership. Even when the audience wants to hate Killmonger, his charm is almost irresistible when decorated in royal and attractive hues of blues and golds, or set in the intensity of seeing him stand against a wall of orange-yellow flames.

Overall, Black Panther deserves its standing as the fifth largest opening weekend, and so much more for its radiant beauty, black and female representation without politics, and skillful handling of wide-scale cultural conflicts.