Born in Flames poster

Born in Flames

1983 · Lizzie Borden

For when you're angry at the news and want a film that's angry with you — something to argue about afterward, not unwind to. Reach for it when you want to see what fearless, no-budget filmmaking looks like at full voltage.

What it's about

In a near-future New York, ten years after a peaceful socialist revolution, women discover that equality remains a promise on paper. Across pirate radio stations, workplaces, and street patrols, factions of women — Black and white, queer and straight, working-class and intellectual — begin converging into a Women's Army, and the state starts paying attention.

The experience

Raw, jagged, and electric — it plays like intercepted transmissions, all pirate broadcasts and surveillance reports riding a relentless post-punk beat. It's confrontational rather than comfortable, and it leaves you buzzing and argumentative in the best way.

The craft

Lizzie Borden shot it over five years for roughly forty thousand dollars with friends, activists, and non-actors, and built the film as a collage of faked documentary: radio broadcasts, news footage, agitprop montage. The rough grain and the music are inseparable from the argument — no single heroine, no single voice, a genuine chorus.

Why it matters

A defining work of American independent and feminist cinema whose DIY collage style and coalition politics have echoed through decades of political filmmaking — and whose cast included a pre-directing Kathryn Bigelow.

Lizzie Borden shot her feminist incendiary over five years on a shoestring reportedly around forty thousand dollars, casting friends, activists, and non-actors from downtown New York's no wave scene — among them a pre-directing Kathryn Bigelow. The premise is speculative: a decade after a peaceful 'social-democratic' revolution in America, women discover that equality remains a promise on paper, and disparate factions — Black, white, queer, straight, working-class — begin to converge into a Women's Army. Borden builds the film as a collage of faked documentary: pirate radio broadcasts from Honey's Phoenix Radio and Adele Bertei's Radio Ragazza, surveillance reports, news footage, agitprop montage, all driven by a relentless post-punk pulse. The form argues the politics — no single heroine, no single voice, a genuine polyphony assembled in the editing room over years. Long circulated in worn prints and championed by Black and queer feminist critics as one of the few films to dramatize coalition rather than merely invoke it, it was restored by Anthology Film Archives in 2016 and found audiences arguably more attuned to it than those of 1983. Its future still looks like a dispatch from next week.

A Deleuzian reading

Two radios, both illegal.

The full Deleuzian reading of Born in Flames →

Reception

Made for around $40,000 over five years and treated as a scrappy festival provocation in 1983, it was rediscovered decades later — a 2016 restoration cemented its reputation as one of the most prescient works of intersectional feminist cinema.

How Born in Flames was received, from release to now →

Influences: the films it descends from and the films it influenced

  • The Battle of Algiers (1966) — Establishes the newsreel-grain faux-documentary restaging of a clandestine cell insurgency with a non-professional cast, the exact vérité-of-the-uprising register Borden mimics for her women's army.
  • Ice (1970) — Pioneers the speculative near-future America built as a fictional documentary of scattered urban-guerrilla cells and clandestine media, the structural template for Borden's underground coalition.
  • Punishment Park (1971) — Uses handheld faux-documentary crews and improvising non-professionals to dramatize a dystopian near-future of state repression, modeling Borden's reportage-of-a-fiction dystopia.
  • Medium Cool (1969) — Embeds staged fiction inside real footage of political upheaval, fusing documentary actuality with drama the way Borden intercuts staged debate with quasi-newsreel street action.
  • La Chinoise (1967) — Turns a radical cell into Brechtian agitprop through direct-address debate, slogans and collage, the discursive talking-politics-to-camera mode Borden's factions inherit.
  • The Cool World (1963) — Brings vérité 16mm shooting and non-professional Black street voices into fiction, the downtown-documentary texture and marginalized-testimony method Borden extends.
  • The Spook Who Sat by the Door (1973) — Diagrams organized clandestine insurrectionary cells staging armed uprising in American cities, the operational how-to-organize-a-revolt narrative logic behind Borden's Women's Army.
  • Riddles of the Sphinx (1977) — Constructs an explicitly feminist counter-cinema that foregrounds theory and refuses classical suture, the polemical formal address Borden channels into agitprop rather than avant-garde stasis.
  • One Sings, the Other Doesn't (1977) — Feminist agitprop docudrama driven by radio and original protest music; Borden extends Varda's sung feminist slogans ('my body is mine') into a punk collective soundtrack fused with pseudo-documentary.
  • The Watermelon Woman (1996) — Inherits the faux-documentary form to fabricate a lost archive, extending Borden's queer-feminist mockumentary strategy of inventing the record activism leaves behind.
  • Itty Bitty Titty Committee (2007) — Directly restages the feminist-coalition guerrilla collective as narrative engine, updating Borden's polyphonic ensemble of activist cells into riot-grrrl-era direct action.
  • Nocturama (2016) — Tracks a leaderless polyphonic ensemble of young radicals staging coordinated urban insurrection in a near-present city, extending Borden's multi-cell structure and ambient dread.
  • Working Girls (1986) — Borden's own follow-through, carrying the documentary-realist observation, non-professional-feeling cast and materialist-feminist eye of Born in Flames into a single-location procedural.
  • Jubilee (1978) — Fuses punk energy, queer politics and speculative dystopia into a ragged agitprop collage, the punk-futurist assemblage that runs parallel to Borden's post-punk scored insurrection.
  • Variety (1983) — Shares Borden's downtown-NY feminist milieu, non-professional and artist cast, and post-punk sound world, shooting female subjectivity on the same shoestring 16mm scene.
  • Smithereens (1982) — Captures the same no-wave NYC on gritty low-budget 16mm with a punk soundtrack and downtown non-actors, the sibling shoestring-independent production practice.
  • Times Square (1980) — Centers two girls broadcasting rebellion via a pirate-radio DJ, the same insurgent-airwaves device Borden uses for her dueling feminist stations.
  • Liquid Sky (1982) — Extends no-wave cinema into speculative genre with a synthetic post-punk score and downtown non-professional performers, a parallel sci-fi-meets-scene experiment.

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