Watch Daughters of the Dust For Free

That was an excellent one.

To all those who have watched it: I hope you enjoyed it as much as I do.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Great movie. Not sure what people expected but I found it highly entertaining.

As one of the extras who had the opportunity to be apart of this production, i found it to be very educational and it was truly a learning experience for me. This was the first movie I ever appeared in so I was truly on cloud nine as I was doing everything the directors were asking me to do. During the filming of this movie I was already apart of a group called The Hallelujah Singers whose purpose was (and still is) to seek to preserve through music the Gullah heritage, rooted in West African traditions and language, brought by the slaves to the Sea Islands of South Carolina and Georgia. this movie gave me more insight into what it was the group was doing. Again, just being apart of this movie was great and very educational for me.

It's tough to sort my feelings on Daughters of the Dust. The film is built around a compelling and often forgotten segment of black history that maintains social resonance beyond its time and place; director Julie Dash deserves credit for capturing the emotion and pain of cultural transformation, and there are lovely images throughout. But Daughters of the Dust makes very little effort to engage the audience: it's difficult to maintain a sense of each character's individual goals, and the film often sacrifices narrative momentum for visual poetry. Unfortunately, I'm left with a film that interests me more in theory than in practice. -TK 9/30/10

I'll start by saying that I usually like non-linear movies, and that I'm interested in African-American history and the Gullah people. That said, this movie was one of the all-time worst I have ever seen. There's no plot, no character development, and no way to determine what the relationships between most of the characters are. It's as if you were dropped from the sky into the midst of this somewhat unsympathetic bunch of women (the men are ciphers, no personalities at all, merely an afterthought), and during the time you are there they don't speak to you and reveal nothing about themselves. The Gullah dialect is almost impossible to understand, and there are no subtitles. Yeah, the cinematography is nice, but save yourself a couple bucks and watch a PBS show. It's obvious that the ONLY reason many people are so entranced by this film is that it was the first independent film by an African-American woman.

Daughters of the Dust is film that slits the eyes of spectators who have been fed only linear and simplistic narrative/plot dev'ts through hollywoodism and can't possibly fathom any other way of being/thinking. It is truly an excruciating film to watch for those who have not dreamt and lived the "double consciousness" of modernity, for those who do NOT want to recall and remember the fact of american quilombos, maroon societies, slave revolters and runaways who succesfully established another way of life, not based on european dominance. This story is about the struggles of maintaining that community in 1902, a turning point in the life of this one maroon society. Dash breaks with cinematic codes in her experimental reconstruction of historical memory...a forgotten episode in African american history, a forgotten place, re-calling back to life ancestors that had survived and thrived: The Gullahs, Peazant family, persisting, unerasable, as the unborn child running through our memory, coming out of our past, forging a new and alternative future: a future that rejects the limitations of western epistemology. The summoning of these images to screen from the unwritten (african) past provides its own logic and development which Dash successfully visualizes in a polyphonic tradition, many voices, multiple perspectives. She does not allow a simplistic and individualistic rendering of this history...NO!she allows the struggle of divergent african perspectives, Christian, Muslim, Africanist, Native American to emerge in the same frame, to address that age old question: To exist or not to exist, to bear witness or to forget. In order for this history to exist and bear witness, Julie Dash does not allow any conventional reductionary scheme of narrativity, her temporal references are not linear. Her story is told through palimpestic time, the past present and future, overlapping and disjunctive: rupturing our understanding of history/memory and identity. The conflict that drives the film's narrative is not individual ego/conventional good vs bad drama/or boy gets girl(Hollywoodism); the conflict is how will the communal memory of these African survivors be salvaged from the ravaging of modernism's erasure..We see the family eat their last supper as the rite of passage to a life on the other side, a side that the ancestors fought to diverge from...The film is testimony to the african ancestors and to the spirit of resistance of slave revolters. Many people have offered criticism of dash's "feminism." Feminism is a problematic concept to apply to this film, no it is not feminist, it is afro-centric, matri-focal, and woman, as bearer of culture and memory as mother to the community, becomes the embodiment of that struggle. (of course it is not "feminist": it doesn't speak about abortion law, equal pay, etc etc..this kind of feminism is eurocentric and simplistic..) Thank you Julie Dash, i am not african american but the tears poured down my face as i, too, recalled that life left behind, another time another place. A place where people, muslims/christians/indigenous or any other can actually co-exist peacefully side by side, respectful of each other's differences. The character who chose to leave her so called "civilized" mother at the last minute, to take off with her Native American lover..is one of the most powerful onscreen testimony of love between indigenous peoples that has ever been made.