User Reviews

There's a lot of talking about political ideas in here, but not a lot of movie. It's a mash up of short clips of big talk with amateurish acting and stock footage and poorly shot blips. There are some still valid ideas and messages, but it comes across more like a university thesis than anything that you'd want to watch. Important more than watchable.

Made over six years between 1977-83, this film reminded me strongly of the films labelled the No Wave. These were underground lo-fi movies made primarily in New York in the late 70's / early 80's. They often had political messages and were uncompromisingly uncommercial. I'm not sure but I would think that Lizzie Borden's feature Born in Flames must surely qualify as one, as this is a wilfully challenging and direct bit of underground cinema which is a rallying cry to women generally. It has a sci-fi premise. In the near future, America is celebrating the tenth anniversary of a socialist revolution but despite this, many issues remain the same, such as racism, homophobia and sexism. A militant group called the Women's Army have been formed, they take direct action to fight for women's rights. Their leader is arrested for a minor offense and mysteriously dies in custody in prison, leading to further revolution.

I'll come out and admit it straight away that I didn't fully enjoy this one. Not on ideological grounds but merely because I did not find the film fully engaging due to its fragmented experimental presentation. Having said that, I do respect what it was doing and it does have an unmistakable energy to it which I found interesting. It's clearly low-budget as underground films always are but it definitely has ambition for sure. It takes the form of a pseudo-documentary and mixes in some real news footage in with staged material. The actors are all amateur but this does ensure the feel remains more radical and less watered down. It focuses on feminist politics primarily and it does have to be said that many of the issues discussed still exist today so it does still have a relevance in terms of what it is saying. I also enjoyed the punk soundtrack which had a sort of proto riot grrrl feel to it. So, while I cannot pretend to have fully engaged with this one, I do respect it and admit it has a certain unique feel.

Even almost 20 years after its release, "Born In Flames" retains its sense of urgency and immediacy. This is due both to the energy of the performances, soundtrack and direction and to the fact that most of the women's demands in the film - including equality in the workplace, safety from harrasment and sexual crimes, and equal representation in government - still have not been met.

One of the film's greatest achievements is its representation of the divisions and debates within feminism. The film does not try to offer a single solution or plan of action as a definitive best way forward and so avoids tempting over-simplification of a complex set of issues. Rather than negative or unhelpful, I found this approach incredibly refreshing in a medium rife with happy endings and simple, fictional solutions.

"Born In Flames" doesn't have an answer, but it has many, many questions and many, many voices. These voices and the regular delivery of discourse straight to camera and audience has regularly led to critical disapproval and claims that it is "overly polemical". I don't find "Born in Flames" overly polemical. I don't agree with many of the opinions and strategies given voice and action in the film, but I found the experience of being directly addressed by a female character on issues that are largely invisible in mainstream cinema energising and inspiring. This film won't change the world, but it made me start writing for my fanzine again and get on the phone to my bandmates to get a practice organised. Enough films, debate, writing, and noise, and we'll get somewhere.

An interesting and timely movie for 2019. I found it particularly interesting that the writers of this movie, in 1981, we able to craft dialogue for the "Men's movement" that is exactly what the alt-right men of today are spouting.

Not only have I had the luck to see this movie, I had the privilege of receiving it from "Honey" one of the lead actors. This movie is so important as it brings to life the struggle of not only women who were active in the 70's, but that the issues they brought forth still continue. If one thinks we have come a long way in overcoming gender discrimination, then take a fresh look at this film. I particularly appreciate the feminist analysis that seems to be missing today from women's activism and politics. Every activist ought to view and take heed of this movies message. This film parallels much of the social climate women endure today. It reminds one of the radical ideas that fired the women's movement and how they might be reignited in todays world.It is timeless, yet carries the rawness of movies made in the 70's. I highly recommend this film.

A mockumentary about an ultimate timeline where the US became a socialist state that did very little to benefit the disadvantaged, and a couple of organisations that aim to overthrow the system in an attempt to enact real change.

For 1983, this is so radical that it still probably would feel radical to most viewers in 2022. It's pretty bleak, hopeless, and messy, but I think there's a lot of truth here. I think it successfully argues that there'd still be a lot of work to do to make a society healthy beyond making changes within the already established system. If it's a starting point, sure, but Born In Flames says that's not enough.

The film's probably right. The US hasn't even gone as far to even be a socialist-democratic country, and if it ever did, they may well deal with some of the problems this film depicts.

I wish the movie was overall a little more focused- there's some repetition and a few too man characters, and there's one song they play every 15 or so minutes, which drove me a bit nuts. But I do really love what it's going for and how forward-thinking it is (and how well it's aged), and the execution overall is still pretty solid.

Also: that final shot is crazy.

A film with almost mythic status as a feminist dystopian classic. Obviously the point is the politics but as a film its horrible. A cut-up of fake TV news coverage and documentary performance clearly improvised by a non-professional cast. Like finding yourself accidentally trapped in an argument you have no interest in. Fine if your burning interest is 1980's feminist agit-prop. Otherwise a complete waste of time.

This is a very radical political film. As a black lesbian feminist, I could relate to the premise of this film. The plot unfolds in a semi-documentary style, making this film all the more interesting. Set against the gritty backdrop NYC, the film has a distinctly apocalyptic feel to it. This movie harks back to the militant, left-wing revolutionary fervor, of the 60s and early 70s.

Despite the changes in society resulting from feminism, gay rights, and the civil rights movement in the last 40 years, this movie shows that there's still much work to be done, to achieve real equality for all. It's not surprising to me that the radical political movement in the film, is led by a working-class black lesbian. Women who happen to be lesbian, blue-collar, and of color, are still the most oppressed people in our society.

Jean Satterfield is superb as Adelaide Norris, the dedicated member of the Women's Army. Jean conveys the militant stance of Adelaide, in a very visceral way. The supporting cast of this film, was also compelling. Especially Honey as Honey, the feminist revolutionary radio DJ. The film was slow-moving at times, but packed an emotional punch.

Rights of the oppressed in society, have been rolled-back by right-wing conservatives for the past 28 years. So, we could use a radical political strategy that addresses the rights of the oppressed again, like we did in the 60s and 70s. History has been known to repeat itself. In this day and age, a radical uprising by women in pursuit of equality, is needed more than ever. This movie could very well be a sign of things to come, in that regard. I recommend this film, to all who take women's rights seriously, and want to become more aware of women's oppression in society.

A 1983 release of a future society where women stage a rebellion against the male dominated world they live in. More of an agitprop distillation of a dramatic 'what if' of a time to come w/the immediacy of a found footage documentary/social message screed, finds women fed up w/the status quo focusing on an outspoken gay, black woman who's a DJ who fills her airwaves w/the vitriol & anger (justified since we see men alternately trying to rape their counterparts or dismiss them from the workplace w/o a justified rationale) spurring a movement (the intended rape is thwarted by a phalanx of 10 speed riding Valkyries blowing whistles). When the DJ is arrested (the powers that be fear her power is becoming uncontrollable) she commits suicide in custody which sets the scene for a guerilla movement (replete w/automatic weapons) culminating in the destruction of the transmission antennas on top of the World Trade Center (eerily foreshadowing the '93 & 9/11 attacks). Yes, the film is rough w/all the odd ends kept in for flavor & texture but it touches on so many totems of protest (the metoo movement, Black Lives Matter, et al) one can forgive the unpolished sheen of the presentation. No big stars to remark about but genre fave, the late, great Ron Vawter shows up as a power broker out to derail the outspoken radio DJ, writer/actor Eric Bogosian has a quick scene as a TV tech & character actor Mark Boone Junior pops up as a perv accosting a woman on a train.

I'm surprised that so many people like this film. I found it boring, weird and incoherent. I assume that the filmmaker's goal was to attract a female feminist audience. Important questions of womens rights are brought up for discussion. But the incoherence of the narrative and the low quality of the cinematography, sound and acting only makes it a pain to watch. So therefore I don't want to recommend it to anyone. I can understand that some people find this film interesting because they are interested in the questions that it deals with. Questions of equal rights for women and homosexuals are very important to talk about. They were hot issues back in 1983 and they are still important. But I think that many people mix up what is interesting politically and what is a good film. This is definitely not a good film.

While the message is important, it is way over the top in trying to shove down your throat the feminist message. The film quality is very poor. The acting poor. I did not feel it was a movie but a series of short skits about the woes of the females lot in life.

It was interesting to see that we are still talking about the same issues and they still relative today. Unfortunately this does not save this film since many films in the past have underlined the same issues.

I did not like this film at all, I tried to watch it all but I simply couldn't do it. I won't call it garbage but it's close. Anyway there is a message there but too buried in a very poorly made film.

This film has some amazing visuals by virtue of being a time caspule to pre gentrified NYC. The plot is secondary to its actual ideas but still coherent and hits home.

The music is brilliant too and and when you add all this up, it gives you something a 100 million studio film would not be able to replicate. Worth watching.

There is so much to unpack about Born in Flames after a first viewing (much belated I must say, I feel regret this wasn't there or I didn't find it when I was younger), but the first thing that comes to mind about it is television and media. Where do all of these "issues" - I put that word in quotes for almost ironic purposes, as worker's rights" equality for women, equality for *black women*, homosexuals and other women who have been made to become second class citizens as their quasi-original sin based on their gender and/or who they were born to in society - intersect and become amplified, or have the chance to? You gotta be on television, dummy! Borden's use of TV as this dangerous, insidious medium, where the great damage is really/often by these men (and sometimes bourgeois white women) in their glasses and suits seeming to have authority when dismissing attitudes and just ideas of the other, is staggering. I think this, even more than the title song, is the glue and spine of how this all can stick together.

I say stick since this is, really, experimental and punk rock cinema at its fiercest and dirtiest. Borden at first gives this the appearance of a documentary - Chris Hegedus and DA Pennebaker turn up in the credits, though the latter I think was a special thanks it shouldn't be underestimated his influence here - but it is not quite that. Sure, that is blood flowing through this stylistically, but there are many scenes shot and meant to be scripted with actors as well. Then you throw in archival footage of demonstrations and other things - actual marches, police beatings and rages against the system, from what appears to be the past ten years - and it takes on a shape that is all its own. It's like if you had dropped Peter Watkins in the lower East side, and he hadn't been born Peter but, well, a woman, and one who understands her place is total shit in society.

Is it messy as all get out? Could any bits be cut? Im sure if I saw it again id find a place or two. Would I dare tell her where? Not a chance. This has the energy of revolutionary cinema, and I dont mean that more polished but didactic kind one may have seen from Godard in the 60s, albeit that sense of ambition is there. This has a big cast of characters, from the black section of the women's army to the (white, middle class seeming, including Kathryn Bigelow?!) journalists trying to meet the women halfway, to the agents hounding the women on their trail (these scenes carry the kind of authenticity that made me think of how the FBI also infiltrated and tried to put the kabosh on the Black Panthers, which was also full of women), and the women in the pirate radio stations giving fuel to the fire on the streets and so on. Sprinkled in are vignettes showing right at street level women being oppressed economically and with their bodies. Early on the first action taken by the womens group is to bicycle around to police attacks when no one else will. And then, well, the guns become a necessary evil for them.

Is there some wish fulfillment and flights of fantasy? I'm sure there are. At the same time everything is of the same piece which is Borden saying: there is already economic suffering for everyone, but if you don't come to our help, there cant be equality in a country - regardless of if this post "liberation" as this is meant to be set ten years after (I thought of Hunger Games, except Born in Flames would eat that dystopia for lunch) - whether it is construction workers or sex workers or a waitress or whomever. And Borden goes goes the extra provocative step of... Violence is not something preferable but, well, what else is there to do if you men wont stay by our sides in the fight against the corporations?

One might say that this isn't as relevant anymore; the women's marches last and this year were full of men not only supportive but possibly empathetic to the struggle which is constant in an America that values wealth and whiteness and the MALEness and all that horseshit bag of chips (just look at the president). With the exception of the last scene, which hasn't aged well for what will be obvious reasons to anyone who's been alive since this film came out, it actually is even more relevant than ever. When a piece of science fiction satire about the falsehoods and depravity and decay of society is made it's about when it is written - 1984 is about the 1948 Orwell was in, Huxley in 1932 with Brave New World, many of Dick's works, Hunger Games too to a lessor extent - and Born in Flames is Borden looking at Americans in the time of that "New" America of Reagan saying "no, things aren't right, things are really worse despite the women's movement that did little, and if you don't see the class issue above all else then you'll never come to see through our eyes."

In other words, any of the technical amateurism here (acting too, though theres more good and natural performing than not, especially from the black actors) is all not of concern when substantively this is one of the richest works of volcanic-hot, Pompeii-the-Earth satire that has existed from an American filmmaker.

I tried to download this movie for a long time but last night, I saw that my friend had a copy of it borrowed from her library, so I watched it and later figured it's also on youtube. This feels like the perfect follow up to stories like l'AN 01 as it starts on the year 10 after a socialist revolution in the united states and shows many of the flaws, which are the same flaws of the mainstream left movement, taking womyn's issues as specifities, or the mainstream feminist movement taking working class womyn of color. As fiction, it lets the criticism sink in more easily.

Sensationally rousing feminist sci-fi drama is made in a vivid cinema verite style with a superb indie soundtrack (title song by Red Krayola) and with the irrepressible Adele Bertei; an instant classic of radical political cinema of which it is sad to say, they don't make them like this anymore.

It blows my mind that anyone wouldn't give this ten stars. Even the eponymous song by Red Krayola moves me to tears! I make everyone I care about watch this film, and it takes all my strength not to spoil the ending when I am making my case, but it's worth it just to see the expression of joy wax into its pure glory at that climax. This raw, creative, utopian effort is the type of boldness we hunger for, and need.