Film: The Watermelon Woman
Director: Cheryl Dunye
Country: USA
Released: March 1996
Runtime: 90 minutes
Genre: Indie Film
Studio: First Run Features
Influenced: Dee Rees, Adepero Oduye, Barry Jenkins, Nneka Onuorah, Tina Mabry
After seeing Spike Lee give a talk after the release of his 1986 film She's Gotta Have It, in which he responded to criticism by saying people should go out and make their own movies if they have problems with his, Cheryl Dunye took up the challenge. The Watermelon Woman is much more than the first feature film directed by a black lesbian, it's also a profound exploration of representation throughout Hollywood history more generally. The film was made on a shoestring budget, with Dunye funding the project through grants, donations and credit card debt. Such limitations were actually the mother of invention, especially in relation to the archive footage of real-life actresses that Dunye was unable to afford. Instead, she made the film about a fictional character called Fae Richards, who represents an amalgamation of various typecast black actresses such as Hattie McDaniel and Butterfly McQueen.
One thing I love about the film is that it raises important issues about identity, race and sexuality without being preachy. It's a down-to-earth and funny film with a serious point to make about representation. Dunye's style is a hybrid of documentary storytelling and fictional narrative, featuring a character named Cheryl, portrayed by Dunye, who embarks on a journey to discover the identity of a black actress from the 1930s known only as the Watermelon Woman. Cheryl, a young Black lesbian living in Philadelphia, works at a video store and dreams of becoming a filmmaker. She becomes obsessed with uncovering the history of the Watermelon Woman, who played stereotypical "mammy" roles in early Hollywood films. Cheryl's search for the Watermelon Woman's story becomes a quest for self-discovery.
The film features cameo appearances by notable figures in the queer and independent film communities, including filmmaker Sarah Schulman and activist Camille Paglia. The film also incorporates actual historical footage and images from the early 20th century, giving viewers a glimpse into the racial and social dynamics of that era. Cheryl's relationship with her white girlfriend, Diana (Guinevere Turner), raises questions about interracial relationships and privilege, while Cheryl's interviews with people who knew the Watermelon Woman, including her lover Martha Page, give the sense of a whole other world that has been erased by mainstream Hollywood. Cheryl struggles to reconcile her identity as a black lesbian with her aspirations as a filmmaker.
The Watermelon Woman received critical acclaim for its bold and innovative approach to storytelling, including winning the Teddy Award for Best Feature at the Berlin International Film Festival in 1996. In particular, Dunye's performance and direction received praise from critics, and she has since been widely recognised as a trailblazing filmmaker, especially for her contribution to queer cinema. On top of that, The Watermelon Woman challenged norms in independent cinema by blending documentary and narrative elements to explore complex themes of identity, race and sexuality. As well as continuing to make films about the lesbian experience, such as The Owls (2010), Dunye has also ventured into TV work, directing episodes of popular shows such as Queen Sugar, Claws and Lovecraft Country.
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