The theatrical release of the first Black Panther represented an unprecedented popular-cultural phenomenon. The immediate and lasting impact was astounding. In the United States in particular, the fact that the film was produced during the years of Donald Trump's presidency gave its message a special charge. It was a dystopian historical phase, during which the life of blacks was so precarious as to require the staging of black superheroes. The cinecomic on Black Panther was a triple triumph: commercial, critical and cultural.

King T'Challa is a tailor-made hero for a new and uncertain time. Chadwick Boseman, who was not new to big roles, brought dignity and charisma. Joining him is a supporting cast of black stars like Lupita Nyong'o and Michael B. Jordan. Black Panther was scratchy and intelligent enough not to be engulfed by an industry – that of American show business – hungry for colors and meanings. Thanks to director Ryan Coogler and co-writer Joe Robert Cole, the film was not limited to the miracle of achieving great recognition, but also represented real progress. He spoke to us and we responded, opening new avenues for representation of black communities.

But then came Boseman's death in 2020 from colon cancer. Franchises are built on star power; Without Boseman, one of Marvel's brightest and most promising figures, Black Panther: Wakanda Forever has been haunted by her absence and shrouded in mourning that cannot be ignored. Rarely do Marvel cinematic universe films and series integrate the mourning experience with such incisive attention (WandaVision came close in its unconventional representation of pain for the death of a partner and its psychological consequences). Framing Wakanda Forever is tricky: I hesitate to call it a new kind of superhero blockbuster – it didn't completely reinvent the genre – but it comes close. Coogler has endowed his sequel with a new vocabulary, one that taps into both loss and triumph. Pain is his mother tongue.

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