The Watermelon Woman (1996)

Since it’s a word my browser’s spell checker didn’t recognize, I guess I have to start talking about The Watermelon Woman by explaining what intersectionality is. Since this is a movie review, let’s use the film industry as an example. The Nineties were considered a golden era for indie American cinema. Advances in technology meant that the barrier to entry was the lowest it had ever been, and a deluge of creative filmmakers took that chance to change the game. That wave meant there was more space for women, people of color, and queer people to make movies. But each of those groups only got a sliver of that space, and the more of the groups you belonged to, the less opportunity you had. Of the people who broke through, most of the women were white and straight, most of the people of color were straight men, and most of the queer people were white men. That compounding discrimination is called intersectionality. And it’s such a problem that in 1996, Cheryl Dunye was the first African American lesbian to direct a feature film.

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A Brighter Summer Day (1991)

On our Criterion picks podcast, John challenged me to write our longest Criterion review yet of A Brighter Summer Day, since it appears to be the longest film we’ve reviewed for any Criterion Month so far. I’m not sure that I’ll be able to muster up that kind of insight after being a little exhausted spending nearly four hours finishing this film in time to review it. Still, there is a lot to unpack in this film that feels both very specific to its time and place and yet as universally human as you would want any coming-of-age film to be. But most importantly, it absolutely earns its nearly 4-hour running time, as I’m not sure that the emotional catharsis it provides at its conclusion would be quite as potent if it hadn’t spent that much time building up its world and characters. Continue reading →