Open Screening

Tuesday, May 19th @ 8pm
The BeBe Theatre
20 Commerce St., Asheville

open screeningsmall

We invite you to share your films and videos with a live audience. Any genre! Any style! It can be old, new, or a work-in-progress. We want to see it.

Formats accepted: DVD, QuickTime or MPEG file, 16mm, and Super 8

Maximum length: 10 minutes

Submit work by May 17th! Email: You can also bring work the day of the show – but arrive early, it’s first come, first served, as time allows!

There will be a short discussion after each film/video with a chance to gather feedback from the audience.

Even if you don’t have a film or video you want to share, you are invited to be a part of the audience. Support local media makers and see exciting work you’ve never seen before.


Rocks in My Pockets

Tuesday, April 21 @ 8pm
The BeBe Theatre
20 Commerce St., Asheville, NC
$5 suggested donation


Rocks in My Pockets (2014, 88 min.)
Dir. Signe Baumane

Presented in partnership with the Asheville Radical Mental Health Collective!

In the new animated gem Rocks in My Pockets, Latvian-born artist and filmmaker Signe Baumane tells five fantastical tales based on the courageous women in her family and their battles with madness. With boundless imagination and a twisted sense of humor, she has created daring stories of art, romance, marriage, nature, business, and Eastern European upheaval—all in the fight for her own sanity.

Employing a unique, beautifully textured combination of papier-mâché stop-motion and classic hand-drawn animation (with inspiration from Jan Svankmajer and Bill Plympton), Baumane has produced a poignant and often hilarious tale of mystery, mental health, redemption and survival.

We will have a Skype Q & A with filmmaker Signe Baummane following the film!

Creative Destruction: The Smyth Brothers

Monday, March 16 at 8pm
BeBe Theatre, 20 Commerce St, Asheville
$5 suggested donation


Creative destruction is an economic concept that describes the paradox of progress by attaching evolutionary theory to capitalism. “It’s the process of industrial mutation that incessantly revolutionizes the economic structure from within, incessantly destroying the old one, incessantly creating a new one.” The dualistic nature pairs well with who we are as twins and the stories we try to tell- tales of a people and their pursuit of money. How does this pursuit mutate now that change is the only constant in capitalism?

Por Dinero (2012, 31 min., 16mm to video)
Quotes from an ancient Mayan hero tie together the life of an undocumented Mexican, his indigenous family, and their dying language.

Rice for Sale (2013, 31 min., 16mm in-camera edits)
An experimental tale distorting Bali’s modern world into a historical account depicting the demise of its former cultural motto, “Rice is Life.” Ten wordless vignettes, all in-camera edits, are strung together to compose a two-part mythological venture down the heavenly mountain toward the demonic sea, culminating at the site of the 2002 terrorist bombing.

About the Smyth Brothers
Brendan and Jeremy Smyth are 16mm experimental documentary filmmakers who explore the globe in search of cultural oddities. Their interest in visual anthropology has sent them from Mexico to Indonesia showcasing the economic plight of workers through unique methods of storytelling. The twins’ work has won multiple awards and screened at notable festivals/venues including Anthology Film Archives, Antimatter, Atlanta, Big Muddy, Chicago Underground, FLEXfest, Edinburgh Int’l, and Indie Grits. The two are the directors/programmers of the Haverhill Experimental Film Festival in Massachusetts with submissions open for the third annual event. Currently, the Smyth brothers live in Durham, NC, where they curate a monthly experimental film series known as UNEXPOSED.

I Have Always Been A Dreamer

Tuesday, February 24th at 8pm
BeBe Theatre, 20 Commerce Street, Downtown Asheville
$5 suggested donation



I Have Always Been A Dreamer (2012, 78 min.)
Dir. Sabine Gruffat

We’re excited to show Sabine Gruffat’s I Have Always Been A Dreamer, an essay film about globalization and urban ecology using Dubai, UAE and Detroit as examples of two cities in contrasting states of development.

The film questions the collective ideologies that shape the physical landscape and impact local communities within the context of a boom and bust economy. Though these cities represent two different economic eras (Fordist and Post-Fordist), both vividly illustrate the effects of economic monocultures and the arbitrary consequences of geopolitical advantage.

Join us for this thought-provoking work examining the fascinating rustbelt city of Detroit – a place of destruction and rebirth beleaguered by a failing industrial-based economy and the megacity of Dubai, a postmodern city in a continual process of being built and consequently shaped by an increasingly service-based economy driven by tourism.

About Sabine Gruffat
Sabine Gruffat is a digital media artist and filmmaker, and is Assistant Professor of Art at the University of North Carolina – Chapel Hill. Sabine’s films and videos have screened at festivals worldwide including the Image Forum Festival in Japan, The Ann Arbor Film Festival and Migrating Forms in New York. Her feature film I Have Always Been A Dreamer has screened internationally including at the Viennale, MoMA, Cinéma du Réel at the Centre Pompidou, and The Copenhagen International Documentary Film Festival. She has also produced digital media works for public spaces as well as interactive installations that have been shown at the Zolla Lieberman Gallery in Chicago, Art In General, Devotion Gallery, PS1 Contemporary Art Museum, and Hudson Franklin in New York. She is currently producing a feature documentary with Bill Brown about the housing crisis in Spain.


Jeremy Moss: Space Material/Immaterial Place

Jeremy Moss: Space Material/Immaterial Place
*Filmmaker In Person*
Wednesday, January 7th at 7pm
Kairos West, 742 Haywood Road, West Asheville
$5 suggested donation (no one turned away)


This event is co-sponsored with The Media Arts Project.

Filmmaker Jeremy Moss, whose work has screened around the globe, brings a 60-minute program of recent moving image work to Asheville. In the summer of 2011, Moss began expanding beyond his narrative training to fully explore expressionistic structural tendencies and its application to place and the moving body. As a program, these works cohesively embody an immersive optical and sonic experience reveling in cinema’s capacity for both meditative expression and the rigors of formal experimentation.

Based in Pennsylvania, Jeremy Moss works in both 16mm and digital video. His films and videos explore and interrogate bodies, identities, and places shaped by rigid boundaries and porous peripheries; his camera design often emulating such strict cultural and physical structures. Moss’ films have exhibited widely at festivals and venues throughout the globe, including Jihlava International Documentary Film Festival, Edinburgh International, Chicago Underground, Brooklyn, Crossroads, Cinequest, Athens, Maryland, and Anthology Film Archive in New York. He teaches production, history, and theory at Franklin & Marshall College in Lancaster, Pennsylvania.


16:38 | 16mm digital video | color| sound | 2013

Combining hand-processed 16mm imagery, a deconstructed lyric essay, and an ambient score by composer Vicki Brown, The Blue Record meditates on the pastime of ruin-gazing and its application across a wide range of aesthetic experiences. Informed in part by the work of Alain Resnais, Walter Benjamin, and the Romantic poets, The Blue Record is a collaborative study of what happens when the process of decay is arrested and ruins become commercial entities. Shot on location at Eastern State Penitentiary in Philadelphia, the film is at once an immersive and Brechtian examination of the experience of destruction as an aesthetic pleasure.

9:34 | digital video | color | sound | 2014
Measured viewpoints positioned on concentric circles dissect and engage the movement of a solo performer in an abandoned mill. The perspective of both movement and place collide. Suddenly unhinged, the figure unravels and weaves freely, abandoning all formal containments. Featuring original choreography by Pamela Vail and an original score by Jonathan Pfeffer.

6:45 | super8 to digital video | color | sound | 2011
Stumbling upon sun bleached bullet-riddled vintage porn sequestered in hidden desert nooks and sagebrush, circuit boards and shattered glass along off-the-path shooting ranges, rotting cow parts in ritual-like mounds, a prophet’s omniscient and culpable gaze; contemplating ideology and place, attempting to apply memory to moving image.

3:26 | digital video | color | silent | 2012
A wild and hypnotic ride that focuses, via manic perspective shifts, on the driving movement of a solo figure against a backdrop of frenetically flickering colors; these jolting chromatic and frame variations dance as much as the performer.

6:48 | 16mm to digital video | color | sound | 2014
A textural experience in layers, scars, and deterioration that combines hand processed, tinted, and toned 16mm imagery with an original sonic score by Jonathan Pfeffer. Both sight and sound ooze and emulate those tangible tremors catalyzed by increasing awareness of loss and decay. Initially created at the Independent Imaging Retreat (Film Farm) in July 2012.

10:37 | 16mm to digital video | color/b&w | sound | 2013
Direct manipulation acts as inciting catalyst as a dancing figure becomes ingrained and lost in the celluloid, creating an immersive new realm for the moving figure. She repeats short phrases of choreography on ambient loop; each repetition alters our perception of movement and space.

4:09 | 16mm to digital video | color/b&w | sound | 2012
A song of creation: immaterial space spawns volatile matter; obfuscated landscape emerges from splintering celluloid. Created at the Independent Imaging Retreat, the landscape is seen anew by 16mm hand-manipulation giving rise to a geometry of trees and meadows; the sonic score is subjected to similar direct manipulation.

Open Screening

Tuesday, December 16 at 8PM
BeBe Theatre, 20 Commerce St., Downtown Asheville



Calling all Asheville makers… the screen is yours! Share your work with a live audience! Maximum length is 10 minutes. Any genre! Any style! It can be old, new, or a work-in-progress. We want to see it.

Formats accepted: DVD, QuickTime or MPEG file, 16mm, and Super 8

 Submit work early by email: or just show up with your piece and we’ll watch it together. First come, first served, as time allows.

 There will be short discussion after each piece with a chance to gather feedback from the audience.

Our Nixon

Tuesday, November 18 at 8pm
BeBe Theatre, 20 Commerce St., Asheville
$5 suggested donation (no one turned away)


Our Nixon (2013, 84 min.)
Dir. Penny Lane

OUR NIXON is an all-archival documentary consisting of Super 8 home movies filmed by three of Nixon’s top White House aides who obsessively documented their experiences from 1969 -1973. Young, idealistic and dedicated, they had no idea that a few years later they’d all be in prison.

This unique and personal visual record was seized by the FBI during the Watergate investigation, then filed away at the National Archives, and forgotten for almost 40 years. OUR NIXON presents these home movies for the first time, along with other rare footage, creating an intimate and complex portrait of the Nixon presidency as never seen before.

The footage consists of over 500 reels of home movies capturing big events such as the Apollo moon landing, historic anti-war protests, and Nixon’s world-changing trip to China. They also filmed each other and everyday life.

They filmed to have something to show their grandchildren. They filmed because they thought that Nixon’s presidency would change the world forever. The tragedy is that they were right.

For Shadows and We’re Okay

Tuesday, October 21 at 8pm
BeBe Theatre, 20 Commerce St., Avl
$5 suggested donation (no one turned away)


Join Mechanical Eye in collaboration with the Asheville Radical Mental Health Collective for a screening of two exceptional films exploring themes of family, self-harm, and healing:

We’re Okay
Dir. Kira Bursky (2014, 17 min.)

For Shadows
Dir. Ken Paul Rosenthal (26 min.)

We’re Okay is a powerful fantasy drama about teen depression and sexuality directed by local Asheville filmmaker Kira Bursky. Delilah has decided to kill herself on her 18th birthday, but her friend Lena surprises her with a birthday party. We see how Delilah is truly feeling in her stop motion animated circus world mind.

For Shadows is a contemplative, multi-layered memoir that explores the process of coming to terms with one’s shadow while unraveling the tangled roots of self-harm. The home movies of a child’s formative years and an interior landscape of traumatic domestic memories are excavated and re-constructed alongside sound clips from archival mental hygiene film.

Check out the For Shadows trailer:

This screening is part of ARMHC’s event Mad Gifts, Saving Graces, and Works in Progress: An exploration of creativity and madness (

Boom: The Sound of Eviction

Tuesday, September 16 at 8pm
BeBe Theatre, 2o Commerce Street, Avl
$5 suggested donation (no one turned away)

boom image

Boom: The Sound of Eviction (2001, 97 min., video)
Dirs: Francine Cavanaugh, Adams Wood, A. Mark Liiv, and Jeff Taylor

Filmmaker Adams Wood in person to introduce the film!

Both humorous and scathing, Boom delves into the ironies and contradictions of the “New Economy” that ushered in the first dot-com boom during late ‘90s in San Francisco. Focusing on the housing crunch, which displaced record numbers of working-class families, nonprofits, and artists; Boom delivers an ambitious social critique while telling stories of individuals displaced by a rapidly changing city. With perspectives from all sides of the issue, Boom! captures San Francisco at the peak of that momentous time. Featured are interviews with dot-com workers, real estate developers, and San Francisco Mayor Willie Brown, as well as those who challenged the new economic order through community organizing, electoral politics, and direct action.

This documentary is just as relevant in 2014 as San Francisco faces another upheaval of gentrification during the second dot-com boom – evictions are up, rents are outrageous, and people are being forced to leave the area. There are lessons to be learned from San Francisco as Asheville undergoes its own wave of change due to an economic boom. Driven by different factors, these waves of gentrification could result in similar outcomes – a city unrecognizable to its working class and long-time residents. How does a city keeps its character and remain an affordable place for everyone, not just the affluent? We hope this screening will fuel some dialog around these complicated issues.

 About the filmmakers:

FRANCINE CAVANAUGH and ADAMS WOOD are a husband-and-wife filmmaking team who moved to Asheville, NC from the San Francisco Bay Area in 2002. Their film ON COAL RIVER (2010), premiered at AFI/Silverdocs, screened at festivals around the world and won awards including Best Documentary at the Appalachian Film Festival, and an IFP/Gotham Award nomination. Adams began making documentaries in the Idaho wilderness in 1996, and Francine found her way to film through theater and dance in 1999. They are currently working on their third feature.


Cul de Sac: A Suburban War Story

Tuesday, August 19th at 8pm
BeBe Theatre, 20 Commerce St., Asheville
$5 suggested donation (no one turned away for lack of funds)


Cul de Sac: A Suburban War Story (2011, 57 min., video)
Dir. Garrett Scott

In May 1995, Shawn Nelson, a 35-year-old plumber from Clairemont, California, emerged from an eighteen foot mine shaft he had dug beneath his backyard in search for gold. An ex-soldier and methamphetamine abuser, he stole a tank from a nearby National Guard armory and went on a rampage through the residential streets of his neighborhood, crushing cars and lampposts until the cops took him down.

A portrait of a San Diego suburb built on a booming post-WWII defense industry and its subsequent bust, the ravages of methamphetamine use, and how these histories come together in one tragic and unbelievable instance. CUL DE SAC provides extensive political, economic, and social context to this seemingly minor news story that ties Nelson’s life to the larger story of a working class community in decline.

“Truly extraordinary… a chilling X-ray of the despair in poor white suburbia. The film ambitiously frames its psychological autopsy and class analysis within the historical context of Southern California’s aerospace industry-fueled development and decline.” —The Independent Film & Video Monthly

This screening is courtesy of Icarus Films.