Sunday, March 10, 2019
7:00 pm / Doors open at 6:30pm
Tickets: $6-$12 sliding scale
In this collection of recent work by North Carolina-based media artists Sabine Gruffat and Bill Brown, celluloid film serves as both a material register and critical resource for interrogating the documentary image. Whether using discontinuous montage, handmade techniques for creating and processing images, or dramatic reenactors, these films aim to extend the formal possibilities of non-fiction filmmaking.
Sabine Gruffat is a filmmaker with a special interest in the social and political implications of media and technology. Her experimental and essay films explore how technology, globalization, urbanism, and capitalism affect human beings and the environment. These films seek to empower people, encourage social participation, and inspire political engagement.
Sabine's films and videos have screened at festivals worldwide including the Viennale, MoMA Documentary Fortnight, Cinéma du Réel at the Centre Pompidou, and The Copenhagen International Documentary Film Festival. She lives and works in Chapel Hill, North Carolina.
Bill Brown is a media artist interested in ways landscape is interpreted, appropriated, and reconfigured according to human desires, memories, and dreams. His research interests include haunted houses, memorial architecture, and outsider archaeology.
Bill's films have screened at venues around the world, including the Rotterdam Film Festival, the London Film Festival, the Sundance Film Festival, and Lincoln Center in New York. He lives and works in Chapel Hill, North Carolina.
Cellular Cinema is an organically evolving, ongoing screening series of experimental film, video, and performance. We are the only regularly occurring event in Minneapolis or St. Paul that features short form, experimental contemporary moving image art.
The Cellular Cinema community is dedicated to the idea that moving image art can be a realm of exploration, improvisation and play on a small scale, using a wide range of tools, techniques and technologies, unbound by the commercial considerations of mainstream narrative media.
We have the capacity to screen work on 16mm, super-8, sometimes with multiple projectors, sometimes including live sound or performance accompaniment, as well as HD and SD video.