The Watermelon Woman Reviews
January 11, 2021
In creating a rich, complex film about the processes of filmmaking and the interstices of identity, Dunye's The Watermelon Woman gets at the risk and reward involved in creating one's own history, which so often melds truth with fiction.
November 10, 2020
Complete with a cameo by cultural critic Camille Paglia, the film both satirizes and reclaims African-American stereotypes of yesteryear...
August 22, 2020
A playful approach to the truth; history with the suggestion of manipulation.
June 27, 2020
[Shatters] the boundaries between the act of creation and the finished creation itself, pulling the audience into the disorienting dialectic of artistic production.
March 25, 2020
The film is very aware that the lives of the people who did manage to create will always be a mystery to a certain extent, but the film refuses to reduce any of its subjects to mere victims.
February 3, 2020
A masterful blend of documentary style and self-reflexive personal narrative, peppered with sweet stories of friendship and romance.
September 15, 2019
By the end of the film, the lines between reality and fiction are blurred in that Cheryl in the film and Dunye herself with the film itself are both making points about black women in film.
February 22, 2019
The Watermelon Woman can be awkward and clunky, and its shoestring budget sometimes shows. But it's also fresh and frequently very funny.
January 19, 2017
[A] sweetly sardonic, pretension-busting look at an African-American lesbian filmmaker negotiating our multi-ethnic, multi-cultural, multi-sexual, multi-multi world.
November 9, 2016
Funny and smart, full of biting humor and astute observations about identity and history, Cheryl Dunye's audacious, joyous debut feature captures the process of falling hopelessly in love with the movies.
November 7, 2016
It's a film of such multitudinous interests and storytelling pursuits that its unfolding replicates the ecstasy of newfound romance.
April 21, 2016
...a unique film and a real time capsule of the 1990s when movie geeks hung out at video stores.
October 31, 2006
The narrative, abot a black lesbian director, is elliptical and circular, borrowing its format from Jim McBride's seminal David Holtzman's Diary, at the end of which, the viewers realize they have been watching a fake documentary.