With Regrouping, Lizzie Borden initiates an exploration into the social dynamics of female collectivity that she would continue to pursue in her subsequent feature films, Born in Flames (1983) and Working Girls (1986). Borden began Regrouping as an attempt to work together with four artists to document the interactions in their women’s group. However, as she states in the text that opens this highly reflexive work, “Gradually the terms of the film changed: they began to drift away; more and more, it became my film.” Placing multiple voiceovers on top of scenes of women talking, dancing, sharing food, showering, and having sex, Borden’s film offers antagonistic, unstable, and multiple articulations of collectivity, asking: What are the purposes of (feminist) groups? What are the methods and practices of collectivity? And what happens when the group breaks down?

After a handful of screenings at the Edinburgh International Film Festival and Anthology Film Archives at the time of its release, Regrouping disappeared from circulation. Borden put the sole print of the film in her closet for some forty years, yielding to the complaints of its participants, who were unhappy with the outcome. Now, with their permission, it is circulating once more in a new restoration by Anthology Film Archives.

Lizzie Borden is a writer, director and editor, script consultant and political activist. Her film, Born in Flames (1983), has been called one of “The Hundred Most Significant Political Films Of All Time” by The New Republic. In 2016, Born In Flames was restored by the Anthology Film Archives and screened around the world, shown in more than 100 festivals, taught in many sex and gender classes around the world. It has been called by New Yorker critic Richard Brody “a feminist masterpiece.”

Borden also wrote, directed, and produced a controversial independent fiction film Working Girls (1986), depicting the working lives of prostitutes, which premiered at the Cannes Film Festival in the Director's Fortnight, won best Feature at the Sundance Film Festival and was restored by Criterion films in 2021.

Borden has a background as an art critic in Artforum where she, in the publication's first decade, wrote on conceptual art, body and performance art, and the new medium of video.

In 2022, Borden published the anthology WHOREPHOBIA: Strippers on Art, Work and Life, with Seven Stories Press, described as “a gorgeously done collection of all things stripping and sex work told by those who know it best.” Borden is currently working on several film projects.