Chauncey -Theater 1 Wed, Apr 19, 2023 7:00 PM
Series Info
Series:Out of the Archive: Black Women Behind the Lens
Reel Representation
Film Info
Rating:Not Rated
Runtime:86 minutes
Director:Kathleen Collins
Year Released:1982
Production Country:USA


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4K Restoration

Presented as part of the Out of the Archive: Black Women Behind the Lens series.

Followed by a virtual Q&A with writer/editor/entrepreneur and daughter of Kathleen Collins, Nina Collins.

"A bold testament to black, womanist filmmaking, and to American filmmaking, as a platform that we all stand upon."Nijla Mu'min, Bitch Media

"Collins's movie ranks as one of the best about a marriage between two ambitious members of the creative class."Melissa Anderson, 4Columns

"There are moments in Losing Ground that are so rich in mood, texture, and longing I can't catch my breath."
Angelica Jade Bastién, New York Magazine

Losing Ground tells the story of a marriage of two remarkable people, both at a crossroads in their lives. Sara Rogers (Seret Scott), a black professor of philosophy, is embarking on an intellectual quest to understand “ecstasy” just as her painter husband Victor (Bill Gunn) sets off on a more earthy exploration of joy.

One of the very first fictional features by an African-American woman, Losing Ground remains a stunning and powerful work of art. Accomplished actors Seret Scott (who appeared in Louis Malle’s Pretty Baby and Ntozake Shange’s play “For Colored Girls Who Have Considered Suicide when the Rainbow is Enuf”), Bill Gunn (Ganja and Hess) and Duane Jones (Night of the Living Dead) star.

Funny, brilliant and personal, Losing Ground should have ranked high in the canon of indie cinema. But the early 1980s was not an easy time for women or independent filmmakers and the film was never theatrically released. It was shown once on PBS’s American Playhouse, and then it effectively disappeared. Twenty-five years after her mother’s death, Nina Collins rescued the original negative and created a beautiful new digital master of her mother’s film. It now looks and sounds as fresh, bracing and complex as it did when it was first filmed. It is a testament to Kathleen Collins’ incredible talent and a lasting treasure of African American and women’s cinema.