Cohen Media Group | Release Date: December 27, 1991 CRITIC SCORE DISTRIBUTION
Universal acclaim based on 18 Critic Reviews
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"Daughters" has a gorgeous, overwhelming sense of place. It is almost startlingly beautiful, blessed with deep fiery hues and a poetic sensibility. It is a film made stronger by its belief in itself, and it challenges its audience to believe also.... But because "Daughters" is so gloriously textured, its rewards are many. [20 Mar 1992, p.30]
Daughters of the Dust is hypnotic, flowing with the trance-like rhythms of a poem that is beautifully written yet deliberately arcane. It's the cinematic equivalent of the voices you hear in the fiction of Toni Morrison or Alice Walker, but without the connecting narrative thread that most novels possess and most movies imitate. The result is a difficult work, yet a haunting one. [29 May 1992]
Daughters of the Dust is as concerned with grand and universal emotions as it is with its "story." Daughters is an enlightening and sublimely lyrical film. [27 June 1992, p.E5]
The filmmaker's dreamy style has a quiet strength: The bright, rich cinematography is a treat for the eyes and the hypnotic musical score is lulling. [10 Sept 1992, p.E1]
The narrative can be difficult to follow. But not to worry. The images, the language and the characters can pull you along. [19 June 1992, p.AE22]
Dash deserves great credit for reaching toward a new kind of cinematic structure that blends compassionate character exploration with a deep interest in the world of nature, and a bold willingness to let storytelling take care of itself at its own unhurried pace. One hopes, however, that in future works she will lean more decisively in a single clear direction - toward painterly visualization or toward psychological narrative. [30 Jan 1992, p.12]
Writer/director Julie Dash pours on sounds, music and costuming for a tone more impressionistic than dramatic - and more somnambulant than either. She might have gotten away with it for 80 minutes, but merciless Dust closes in on the two-hour mark, a structural shambles in the too-earnest American Playhouse tradition. [1 April 1992, p.6D]