Black Lesbian Cinema: Making History
An exploration of The Watermelon Woman dir. Cheryl Dunne and Pariah dir. Dee Rees
By Sydney Hainy
"I know it has to be about Black Women because our stories have never been told."
The film industry has not been subtle in its constant attempts to shove white, heterosexual, and male-dominated media down our throats. In the rare case that these standards are deviated from, attempts to mimic personal experiences fall incredibly flat. Why are we submitting ourselves to stories from people who have never lived them and calling it "diversity"? Black creators, particularly Black Lesbian creators, are voicing their stories; all we have to do is listen. So let's hear, and watch, as Pariah and The Watermelon Woman speak for themselves.
Alike is a Black teenager living in New York and struggling to navigate her sexuality, relationships, and of course, strict family. Now, Pariah is a classic coming out storyline, one we've had to endure a thousand times before. However, Pariah is not afraid to delve into topics that other films wouldn't dare to approach. Historically, LGBTQ women have only been explored through the lens of white femme identities. Alike is coming to terms with her lesbianism and Blackness and starting to realize that these characteristics don't have to look a certain way. Throughout the film, Alike is told to act a certain way; to behave and dress how her parents want, told to be more "butch" by her lesbian peers, and to keep her sexuality to herself. As much as she tries hard to be what everyone wants, she still ends up letting down those closest to her. "How am I supposed to dress?" she asks after getting invited to a party, to be met with, "Come as you are." This is a heavy film, filled with anger and discomfort, but also a sense of freedom. The story is orchestrated with gorgeous dramatic visuals that match the emotions we watch play out on the screen. "It's not a phase!" she screams to her mother, "There's nothing wrong with me!" In her voice, the desperation we hear could only be voiced by someone who's felt this exact pain, who has had to face homophobia in the Black community. Director Dee Rees is ruthless and unwavering; she lets us see everything even when it feels unbearable.
An extreme change of pace finds its home in The Watermelon Woman, the first film directed by a Black Lesbian, Cheryl Dunne, who subsequently wrote and starred in it. It's funny, it's raw, it's heartfelt, and you can feel Dunne's care in every frame. Cheryl takes us along to research The Watermelon Woman, or Faye Richards, a Black actress in Old Hollywood. The mockumentary cuts between footage of Dunne filming her project and the main storyline of the film, frequently bleeding together. It's hard to distinguish where her story ends, and Faye Richards' begins. By drawing comparisons between these points, many themes are explored, from interracial relationships to the community of family. While we do need serious plotlines to show audiences the hardships of sexuality, queer people shouldn't have to base their entire identity on the heterosexual construct of "coming out." It is refreshing to see Dunne using the camera to create whatever she wants. Considering the film came out in 1996, it is so enjoyable to sit back and watch these women have fun making such a strong piece of media.
The most crucial role of these movies is the message that young Black lesbian women can be unapologetically their own being. Dee Rees and Cheryl Dunne are producing art that reflects what it is like to be a young person dealing with friendships, relationships, society, and family, all while being Black and a Lesbian. At the end of The Watermelon Woman, the audience finds out that Faye Richards, aka The Watermelon Woman, never existed. Dunne ends with a quote that feels appropriate here as well: "Sometimes, you have to create your own history."