The Watermelon Woman 1997

Cheryl, a young African American lesbian, holds down a job at a video rental store in Philadelphia alongside her friend, Tamara. In addition to their day-to-day work, they delve into the world of professional home video creation, providing services to clients seeking personal recordings. Cheryl’s curiosity leads her to the classic films of the 1930s and 40s that prominently feature black actresses, many of whom are not given proper credit for their contributions. This fascination intensifies when she discovers a film titled Plantation Memories, showcasing a black actress only referred to as “The Watermelon Woman.”

Determined to unearth more about this mysterious figure, Cheryl sets her sights on creating a documentary that explores the life of the Watermelon Woman. Amid her quest, Tamara attempts to pair Cheryl with her friend Yvette, but Cheryl remains uninterested in romance. Instead, she encounters Diana, a white woman who flirts with her in the store, much to Tamara’s chagrin.

Cheryl embarks on a mission to interview the community, reaching out to people to inquire if they recognize the Watermelon Woman. She speaks with her mother, who can’t recall the name but recognizes a photograph of her. Her mother shares memories of the Watermelon Woman’s performances in Philadelphia clubs. Additionally, Tamara’s mother suggests Cheryl should connect with Lee Edwards, an expert in black cinema. Visiting Lee, he immerses them in the cultural landscape of 1920s and 30s Philadelphia, illuminating the common roles of black women as domestic workers.

During this journey, Cheryl meets Shirley, a friend of her mother who reveals that the Watermelon Woman was named Fae Richards—a fellow lesbian who sang in clubs for “all us stone butches” and was often seen with Martha Page, the unkind white director of Plantation Memories. As fate would have it, when Cheryl and Tamara get caught leasing videos under Diana’s name, Diana claims the tapes and invites Cheryl to her home to reclaim them. Over dinner, the connection between Cheryl and Diana deepens, and after sharing their stories, they become intimate. Cheryl finds herself enjoying Diana’s company, despite her being outside her usual type.

Cheryl’s exploration of identity continues as she engages with cultural critic Camille Paglia, who discusses the Mammy archetype and its implications. A visit to the C.L.I.T. archive unveils photographs of Fae Richards, including one given to June Walker, Fae’s long-term partner. With Diana’s aid, Cheryl attempts to reach Martha Page’s sister, who obstinately denies Martha’s sexual orientation.

As the relationship between Cheryl and Diana blossoms, Tamara openly expresses her disdain for Diana, further highlighting the tension surrounding race and attraction. Tamara accuses Cheryl of desiring to assimilate into a white identity while blaming Diana for holding a fetishistic view of black individuals. The complexity of these emotional ties is further illustrated when Cheryl contacts June Walker, who reveals that she shared a life with Fae for two decades. However, their planned meeting is interrupted as June is hospitalized, leaving Cheryl with a letter expressing her frustration with Martha.

Eventually, Cheryl finds herself isolated after a rift with both Diana and Tamara. Nevertheless, she perseveres, channeling her experiences and the history she uncovered into completing her documentary project, albeit without the chance to further connect with June. Thus, Cheryl’s journey becomes a profound exploration of personal and collective identity, history, and representation in cinema.