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Edition 2022
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As the most acclaimed creation by the filmmaker, the film focuses on the story of three women from the Peazant family, in the moment when they are about to migrate from the American Saint-Helena island to the continental and industrialised part of South Carolina - leaving their legacy behind. Thanks to its isolation, their originary black community kept many of their west african traditions, beliefs and language even after the abolition of its slave past. While the family’s mystical matriarch insists on remaining close to her ‘scraps of memory’ and ancient souls, this bond is seen as obsolete by the younger generations.
The film stands not only as a family portrait but as a portrait of a spirit of an historical American era. The film is visually impressionistic, and achieves a rhythmic and visual fusion evocative of oral traditions in its poetic and musical quality. Keeping a non-linear narrative spoken in the creoule Gullah, it asks for an attentive effort to keep pace with its dramatic intricacies.
The film stands not only as a family portrait but as a portrait of a spirit of an historical American era. The film is visually impressionistic, and achieves a rhythmic and visual fusion evocative of oral traditions in its poetic and musical quality. Keeping a non-linear narrative spoken in the creoule Gullah, it asks for an attentive effort to keep pace with its dramatic intricacies.
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Cast:
Cora Lee Day, Alva Rogers, Barbara O. Jones, Adisa Anderson, Kaycee Moore, Cheryl Lynn Bruce, Tommy Hicks -
Original Title:
Daughters of the Dust -
Country:
United States of America, United Kingdom -
Year:
1991 - 112' GUL, EN, Subtitles: PT
Director
Julie Dash
Julie Dash was the first african-american woman to to receive a general theatrical release in the United States - with her acclaimed Daughters of Dust (1991), a revolutionary film in its dissolution of racial and gender boundaries for American filmmaking.
For the first-time present in Portugal, Dash is one of the filmmakers associated to the L.A. Rebellion movement, also known as ‘Los Angeles School of Black Filmmakers’: a generation of filmmakers from the 60s to the 80s of UCLA, creators of a revolutionary Black Cinema diverging from Hollywood conventions and attentive to the real african-american lived experiences. Earlier on her career, Dash completed three short films: Four Women (1975), based on Nina Simone’s song with the same name and representative of four main african-american stereotypes of women surviving within the USA; The Diary of an African Nun (1977), inspired by an Alice Walker’s short story of an Ugandan nun’s growing doubts in her commitment to poverty, chastity and divine obedience, which won a student award from the Directors Guild of America; and Illusions (1982), about the integration of a young African-american woman in the toxic Hollywood environment, in exchange for her right to her real black identity.
Illusions was named to the National Film Registry in 2020 by the US Library of Congress, joining her most well-known feature film Daughters of the Dust (1991) which has been preserved in this archive since 2004. This seminal work by Dash portrays the migration of a gullah family from Saint-Helena’s island to the north of the USA, and the painful let-go of their ethnic and communitarian family traditions. Her impressive independent production has won multiple awards, including the Cinematography Prize at the Sundance Film Festival (1991), the Bes Rediscovery Prize at the Boston Society of Film Critics Awards (2013), and the Special Prize at the New York Film Critics Circle (2016), and officially featured in a number of cinema festivals - such as the Toronto International Film Festival (1991), the Fribourg International Film Festival (2019), the Locarno International Film Festival (2019), the Dublin International Film Festival (2021) and the Sidney Film Festival (2022).
For the first-time present in Portugal, Dash is one of the filmmakers associated to the L.A. Rebellion movement, also known as ‘Los Angeles School of Black Filmmakers’: a generation of filmmakers from the 60s to the 80s of UCLA, creators of a revolutionary Black Cinema diverging from Hollywood conventions and attentive to the real african-american lived experiences. Earlier on her career, Dash completed three short films: Four Women (1975), based on Nina Simone’s song with the same name and representative of four main african-american stereotypes of women surviving within the USA; The Diary of an African Nun (1977), inspired by an Alice Walker’s short story of an Ugandan nun’s growing doubts in her commitment to poverty, chastity and divine obedience, which won a student award from the Directors Guild of America; and Illusions (1982), about the integration of a young African-american woman in the toxic Hollywood environment, in exchange for her right to her real black identity.
Illusions was named to the National Film Registry in 2020 by the US Library of Congress, joining her most well-known feature film Daughters of the Dust (1991) which has been preserved in this archive since 2004. This seminal work by Dash portrays the migration of a gullah family from Saint-Helena’s island to the north of the USA, and the painful let-go of their ethnic and communitarian family traditions. Her impressive independent production has won multiple awards, including the Cinematography Prize at the Sundance Film Festival (1991), the Bes Rediscovery Prize at the Boston Society of Film Critics Awards (2013), and the Special Prize at the New York Film Critics Circle (2016), and officially featured in a number of cinema festivals - such as the Toronto International Film Festival (1991), the Fribourg International Film Festival (2019), the Locarno International Film Festival (2019), the Dublin International Film Festival (2021) and the Sidney Film Festival (2022).
