Born in Flames

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.

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.

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.