As the representation of Black women in Hollywood continues to grow, some might assume that their contributions to the big screen are a recent development. However, that couldn’t be farther from the truth.
While we celebrate the exceptional works of directors such as Ava DuVernay, Gina Prince-Bythewood and Nia DaCosta, those who offer diverse, provocative perspectives through their films, it’s important to remember there were numerous Black women directors who fearlessly paved the way before them.
Read on for five pioneering Black women filmmakers and their groundbreaking films, which should never be forgotten.
Kathleen Collins – Losing Ground (1982)
Kathleen Collins’s semi-autobiographical film Losing Ground is one of the first feature films directed by a Black American woman.
Its story follows Sara, a philosophy professor who prides herself on being liberal and logical, but things take a turn for the worse when she becomes consumed by jealousy over her artist-husband’s gorgeous model. In an act of retaliation, Sara recklessly befriends Duke, a man who makes no secret of his attraction to her.
Sara is not portrayed as the Black woman who falls victim to the pressures of being extraordinary. Instead, she’s human, which made the film all the more relatable and compelling at that time.
Euzhan Palcy – A Dry White Season (1989)
Six years after her award-winning debut feature film, Sugar Cane Alley, Euzhan Palcy pointed her lens towards the apartheid crisis in South Africa. A Dry White Season, set in 1976, follows the story of Ben du Toit, a teacher who becomes politically active after his gardener’s son is killed at school by a corrupt police officer. As Ben becomes more determined to fight against the apartheid system and social unrest, he hires human rights attorney Ian McKenzie to try the doubtful case against the police officer.
Julie Dash – Daughters of the Dust (1991)
With her debut feature, Daughters of the Dust, Julie Dash made history as the first Black woman to have a full-length nationwide movie release in America. The film is set on an island, the Gullah community of South Carolina, at the turn of the 20th century. It follows the Peazant family, who are contemplating moving to the mainland for a more modern life. However, in doing so, their past and present secrets are revealed.
The story is told from the perspective of an Unborn Child, which adds a powerful, poetic element to the film.
Dr. Ayoka Chenzira – Alma’s Rainbow (1994)
In the early 1990s, Hollywood’s focus on the Black male psyche was a dominant theme, particularly in depictions of violent, “inner city” narratives. However, Dr. Ayoka Chenzira’s interests were directed toward exploring the intimate dynamics between Black mothers and their daughters.
Set in Brooklyn during the 1990s, Alma’s Rainbow is a captivating coming-of-age tale that follows Rainbow Gold, a vibrant teenage girl who tries to express herself while living under the strict, traditional values of her mother, the owner of a hair salon. When Alma’s worldly sister Ruby shows up after spending years living in Paris (Ruby is carefree, with a life full of glamour and gorgeous men), Rainbow is introduced to a new path of womanhood.
Cheryl Dunye – The Watermelon Woman (1996)
Although Black female representation in cinema is experiencing a resurgence these days, depictions of Black queer women still have a ways to go. In 1996, Cheryl Dunye made history by becoming the first Black lesbian to direct a feature film with her debut, The Watermelon Woman, but it would take another 15 years for Dee Rees to follow in Dunye’s footsteps with her film, Pariah.
In The Watermelon Woman, Dunye stars as Cheryl, a video store employee who discovers an uncredited actress portraying a Mammy in a 1940s film. Determined to uncover the actress’ identity, Cheryl decides to create a documentary which reveals long-hidden secrets.
Not only is the film uplifting, but it is a tribute to the Black women who were forced to live on the fringes of society and a reminder of their contributions to our history.
