And the Winner Is…Mammoth Lakes Film Festival 2023

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Festival program director Paul Sbrizzi with fest director and founder Shira Dubrovner, above “This year’s festival was a testament to the importance of an event that creates community and support for personal, innovative filmmaking…” Sbrizzi added “We consciously seek out the kind of bold filmmaking that deserves a showcase.”

So, who won? Let’s take a look:

U.S Narravie GRAND JURY PRIZE WINNER – Unicorn Boy (USA) – When a heartbroken young artist is sucked into a unicorn-run alternate dimension, they must help conquer a dark force in order to bring peace to the kingdom and themselves. Directed and written by Matt Kiel.

U.S. Narrative AUDIENCE AWARD WINNER – Love Dump (USA) – Trash-filled love ensues when a quirky antique shop owner searches for her missing father and falls for a determined dog lawyer along the way. Directed by Jason Avezzano and written by Leila Gorstein and Jesse Kendall.  

International Narrative GRAND JURY PRIZE, AND AUDIENCE AWARD WINNER – Where the Road Leads  (Serbia) – A stranger arrives in an isolated village and the locals suspect his involvement in constructing a highway nearby; their intolerance gradually builds to open conflict. Jana falls in love with him and sees the danger; she’s the only one who can save him. Directed and written by Nina Ognjanović.

U.S. Documentary Feature 

GRAND JURY PRIZE WINNER – A Still Small Voice (USA) – An aspiring hospital chaplain begins a yearlong residency in spiritual care, only to discover that to successfully tend to her patients, she must look deep within herself. Directed by Luke Lorentzen. West Coast Premiere 

BRAVERY AWARD WINNER – Mississippi River Styx (USA) – An enigmatic drifter with terminal cancer lives his dream of floating down the Mississippi River on a ramshackle houseboat — until locals start to question his story. Directed by Tim Grant & Andy McMillan.

AUDIENCE AWARD WINNER – Name of the Game (USA) – The untold story of black male exotic dancing in south Los Angeles and how it intersects with the origins of hip hop, gang culture, and kung fu assassins. Directed by William Forbes and Douglas Skinner.

International Feature Documentary 

AUDIENCE AWARD WINNER – Naked Israel (Israel) – Interviewees are exposed both physically and mentally in this irreverent look at Israeli masculinity, through a series of interviews with men from a broad range of ages and backgrounds. Directed by Ines Moldavsky. World Premiere

GRAND JURY PRIZE – To Kill a Tiger (India) – Ranjit takes on the fight of his life when he seeks justice for his 13-year old daughter, the victim of a gang rape. Directed by Nisha Kumari Pahuja.

Screenplay, Shorts, and Music Videos 

Best Screenplay: “Field of Weeds” by Kelly Jean Karam. 

Best Narrative Short: “Play This At My Funeral,” directed by Ray Smiling.

Honorable Mention: “Filling Holes,” directed by Miriam Gabriel and Sophia de Baun.

Best International Narrative Short:

“Sanaa, Seductress of Strangers,” directed by Jan Eilhardt.

Honorable Mention: “Summer Rain,” directed by Shao Lin. 

Best Documentary Short: “A Throwing Forth,” directed by Xiao Zhang.

Honorable Mention: “Let Me Take You Home” directed by Evelyn Hang Yin. 

Best Animation Short: “Our Pain,” directed by Shunsaku Hayashi.

Honorable Mention to “La Última Historia (The Last Story),” directed by Vicente Molina Pardo. 

Best Music Video: “Under No Nation” by Goat, directed by John Mark Lapham.

Honorable Mention to “Funeral Solution” by Osees, directed by Logan Feser.

Special Mention to “Rakiya Su Katamam” by Altin Gün, directed by Sylvain Rusques and Simon Moreaux.

But ultimately the biggest winners are the filmmakers and audience members attending MLFF 2023. 

For information on the 10th annual festival taking place 05/22/2024 – 05/26/2024, visit www.MammothLakesFilmFestival.com.

  • Genie Davis; photos courtesy of the festival’s Dori Myers; and photos by Jack Burke

Enrich Your Soul with Potent and Poetic Sculptural and Dimensional Wall Art at Patricia Sweetow Gallery

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Two powerful artists create immersive works that are rich in meaning, texture, and materials at Patricia Sweetow Gallery, now through June 24th.

Amalia Galdona Broche and Demetri Broxton’s individual artworks are both unique, as important as they are beautiful. Combined in one exhibition, their series glow together, visceral and full of life, intimate and universal. They’re meant to be matched: both feature a color palette rich in golds, bronzes, and browns; Broxton’s infused with elements of exciting color. Both create art that resonates spiritually and emotionally.

Broche, in her first exhibition with the gallery, offers two different types of work within her Vestments of Time series. There are five free-standing sculptural works and nine wall works that utilize both resin and textile. The sculptural figures resemble bronzes but are created of resin, textiles, paper, and plaster. While not specifically gendered, they appear to be gestational female forms. Each work features painted circles or dashes on their surfaces, a kind of rhythmic tattoo or non-verbal, coded communication.  While ageless, some of the sculptures have creased faces, depicting the effects of time, others are smoother skinned, straighter of carriage. Some facial expressions are hopeful, as if looking toward an invisible bright horizon in “Vestments of Time #3”, while others, such as “Vestments of Time #5” appear to have more creases and folds on body and face.

A towering headdress is a part of each figure and appears to contain hair, adornment, and a second or in some cases a third, set of eyes. Like the varied folds on body and face, the hairstyles of these figures also differ – some are more formal, towering, others have copious arches and hoops. Some figures exude the exuberance of youth and some the cares and maturity of age. The multiple eyes convey a sense of looking out, looking in, of past, future, psychic prowess, and possibility. Layered, lush, and gorgeous, one waits for these sculptures to come alive and move their long, trailing arms to embrace the viewer.

The wall works, also part of Broche’s numbered Vestments of Time series, resemble flowers or suns, a kind of celestial flora to the free-standing human fauna of the sculptural works. The wall works also resemble the embryonic stage of the sculptural figures. There are clearly faces embedded “Vestments of Time #11.” A single profile may be discerned in “Vestments of Time #9.” In #10, however, with long rope-like braids hanging from the center, there are no such human elements.

Living in both Cuba and the U.S., Broche describes these pieces as depicting the “fluid nature of identity, faith, memory of identity, transculturation and immigration” referencing both her upbringing during the Cuban Revolution Special Period and both Spanish and West African imagery. There is strength, sadness, and boldness in her work, made more potent by the realization of the hardships and grace they embody.

Broxton’s work is his second for the gallery, and it dazzles. From a ceremonial boxing robe studded with powerful and protective amulets to beaded song lyrics depicted on boxing gloves, the Oakland-based artist creates alchemic art that feels equal parts mystic and mythic, yet thoroughly grounded. The gem work and bead sculptural flight of lyrical words is beautifully contained in the reality of the boxing ring. The gloves have special meaning for Broxton’s art and for Black Americans. The early fame of Black boxer Jack Johnson was the beginning of a path to the ring, where during the WWII era, Broxton’s own grandfather boxed in mixed-race fights. As gallery notes relate, this was the only environment in which such a fight could take place without risk to the life of a Black fighter.

While the ceremonial boxing robe, with amulets and objects relating to both the Nigerian Yoruba people and the artist’s Louisiana Creole heritage, and the headress accompanying it are certainly a focal point, the beaded gloves that shape the majority of the exhibition serve as passionate punctuation throughout the gallery space. From cultural diaspora to the preservation of tradition and the creation of new traditions that hold deep connection, Broxton’s art serves to shape its own safe space, a sacred ring of sorts, a place of expression filled with emotional gut punches as deeply felt as physical contact in the boxing ring.

For “So Ambitious (I’m on a Mission)” the artist uses amazingly intricate hand cut Cypraea mauritiana cowrie shells, glass beads, red coral, tourmaline, and cotton on boxing gloves connected by steel chains. The title and words on the gloves refer to a chorus by Pharrell on a Jay-Z track. They serve, as the artist says, as a “battle cry” to push on despite adversity, fighting for success, while acknowledging “centuries of trauma and struggle.” Equally elaborate and stunning, is “Bombs Over Baghdad,” which references lyrics by OutKast.

The careful, perfect precision of beading, labradorite, and red coral are not the only materials used for this piece – it also includes inert rifle bullets. “Don’t pull the thang out…unless you plan to go bang,” the gloves read.  “Count Me Out,” based on a Kendrick Lamar lyric, uses green quartz and cowrie shells among its materials, and as with each of these pieces, the combination of perfectly rendered text into visual art and the artist’s use of exciting mediums is exhilarating.

The impressive detail, the mixed use of natural gemstone materials, shells, and glass beading, is exceptional. The gloves serve as a perfectly encompassing frame, embracing words used to “fight back” and defend.

Patricia Sweetow Gallery is located at 1700 S. Santa Fe Ave., Suite 351; hours are 11-6 Tuesday – Saturday through June 24th. There will be a conversation between Demetri Broxton and gallerist Patricia Sweetow June 17th at 1 p.m. The gallery relocated from San Francisco last fall. If it’s not on your viewing radar yet, it certainly should be.

  • Genie Davis; photos by Genie Davis and provided by the gallery

Closing Day at Mammoth Lakes Film Fest

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The final day of the Mammoth Lakes Film Festival brought many gems, as the countdown to awards night begins. Here’s a look at a few of them.

Mad Cats

Offering a wildly inventive mix of martial arts, cat trivia, and a message about the importance of caring for cats, this kinetic Japanese language film is entirely unique. The actresses playing the felines possessed by long-buried Bastet catnip were terrific – director Reiki Tsuno captured a totally believable vibe of vengeful cat warrior goddesses. Think John Wick meets an actually well done non-cgi version of Tom Hooper’s Cats – the film was great fun.

Before the feature we saw the second of three short films by director Stephen Collins here at the festival, Sentimental Journey. A seriously depressed musician and Compu-City employee is revived by his friends and the purchase of a battered piano. An outdoor performance of Rachmaninov literally sends depression away in flames while the pianist’s mind leads him through a sparkling ruby red wormhole. Director Collins says these sections were difficult to shoot as they took place under water. The challenge was both technically and because the actor was uncomfortable being submerged. Despite the struggles, the result is a sweet and imagistic film about personal revival.

Kokomo City

Richly engaging, this smart, sharp documentary feature depicts the lives of Black trans sex workers in both New York and Atlanta. Director D. Smith is a force to be reckoned with as she lets these women speak for themselves uninhibitedly. One of the four participants, Koll Da Doll was violently killed since the making of the film and its initial showings earlier this year.

The poignant intensity of this powerful first time directorial work is galvanizing, as the subjects discuss everything  from rejection by family, violence against them, and struggles with survival in a world rigidly committed to long-held gender beliefs. Defiant and lively, the film is a testimonial to the high cost of being oneself.

Also viewed today, the absorbing and lovingly wrought documentary short, Carl Runs the Paper from directors Joey Horan & Manish Khanal.  The new newspaper editor of California’s oldest newspaper saves more than the struggling paper – he saves himself from deeply felt grief in this quiet, lovely film. 

The intimate and engaging portrait of 73-year-old Carl Butz depicts him bearing the weight of the struggling Sierra Gold Country newspaper, The Mountain Messenger, which was set to close in 2019.

Butz purchased it, and became editor, despite having no journalism experience. His purchase was in part his own way forward following the death of his wife from cancer. Carl describes his goal for the paper as simply keeping it alive, but in the process he’s given it and himself a new lease on life.

That’s all our film reviews for now…

If you didn’t make it to Mammoth Lakes this year, be sure to come next time – you’ll find films to cherish, and the most innovative programming around.

See our coverage of festival award winners tomorrow.

– Genie Davis; Photos: Jack Burke and provided by the festival 

Super Saturday at Mammoth Lakes Film Festival

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We had a super Saturday indeed at Mammoth Lakes Film Festival, from morning ‘til the lively after party, replete with Tiki drinks.

Shorts Block 4

A strong block of short narrative films offered comedy, whimsy, and the tragic.

Vegeversary

Director Sarah Smith  tested a brightly colored animated story in which on the anniversary of a bunny’s vegeversary she and her friends spend a weekend over indulging in tons of meat. Smith who is a long term vegetarian/pescatarian says she thought it was a fun idea to present a celebration with friends in this way especially as imagined vicariously through pandemic years.

Stuck

A smart and funny slice of Austin life as  roommates in a large group house make a music video and a pesky mouse gets stuck in a glue trap before compassion prevails. Director Brittany Reeber says she created an existential autobiographical story. Great music by Austin band Neville, too.

Work Life

Brilliant comic gem as office workers discuss – or rather don’t discuss, but remember they’re eventful, and unbeknownst to them, connected weekends. Cambodian American director Kevin Ung says he wanted to make sure the film visual enough to understand by even those for whom English is not their first language. In the process he created a terrific film with both compulsive narrative and viewing appeal. Both he and DP Oscar Ramos created this as a USC grad project.

Baloney Beacon

Balloons as nature documentary in another dimension – that’s how director Max Landman describes this visually fascinating stop action experiment with animating balloons.

Landman works in the Bay Area as a balloon twister, but during the pandemic he created this super fun piece extemporaneously.

Wild Card

Director and co-star Tipper Newton creates lush neo-noir vibes in her second “serious” film short, as she describes it.

A desperate doctor is looking for a girlfriend, and joins a dating service that sends VHS tapes to its subscribers.

Dressed in red, the femme fatale who chooses him comes with plenty of baggage and her own needs for a “date.”

With a tense score and LA-setting, this damsel in distress film has gorgeous art direction and pitch perfect acting.

Wolf

A young Iranian boy follows his grandfathers advice to end the suffering of the lives of ailing animals – in this case the grandfathers own in this sorrowful story of the inevitability of death.

Documentary Shorts 2

Becoming Howard

This is a sweet and thoughtful doc following Howard, an autistic crossing guard in CA, returning to his Indiana high school reunion. There, he reconciles with those who weren’t that nice to him in high school. Today he writes a blog about bullying, and receives former classmates support.

According to thew project’s skilled filmmaker Matt Fuller, Howard came to CA following a passion for arm wrestling, but wonders what life would’ve been like if he stayed in Indiana.

Squid Fleet

Poetic and fascinating film about life on a squid boat in China. As beautiful as it is sorrowful. Ed Ou and Michael Hsu create both a very real and mythological world.

Animal in Ascension

Cocky young Floridian experiences other worldly sensations in another dimension. Director Ian Clark describes his lively film as living DMT in a non-DMT world – and exploring the margins of human experience.

Balloon Boy

Watching Balloon Boy unfold in real time, directors Brian Gersten and Arlin Golden describe their project as an early indicator of negative American emotional behavior.

During the pandemic ,the duo found  and cut footage together of the hoax, from the moment it occurred to today’s current footage of the kids involved making a heavy metal song about it. The result is a lively, fascinating archival doc.

Ukarjo

Exploration of daily life in a pristine jungle habitat living in Indonesia. The message of natural peaceful lives is beautifully done by Cannelle Guhur.

Mississippi River Styx

Director Tim Grant creates a riveting feature film study of a likely con man navigating the Mississippi  River on what were supposedly his final is beautifully done,  but the subject is now living in Slidell, La.

Said to be dying of cancer, Kelly Phillips took his houseboat down the Mississippi from Wisconsin to the river’s end in Venice, La. Originally intended as a short, riding along was hazardous but so compelling an experience that directors Tom Grant and Andrew McMillan turned a four day filming schedule for a short into a feature, Grant’s first.

Is Kelly conning people? The filmmakers fairly present each side in a gorgeously scored, shot, and fascinating character study.

The danger of shooting in the river waters is palpable – Kelly was allowed to go down river only because of his story about his end of life journey, with the coast guard helping him despite standard safety restrictions.

Grant says “We didn’t make it an investigative film about Kelly’s diagnosis – we were more interested in presenting various perspectives and emotional reveals than justice.” The result was an incredible, harrowing film.

Requiem for a Whale proceeded the feature film, an important elegiac short from Ido Weisman, a beautiful rumination on life, death, and ecology.

Also viewed today: a twisted mother and son story in Joey Hirsh’s body horror Pure Gesticulation, which I was unable to view in entirety, and a dark depiction of highly symbolic outcasts in a terrifying Polish forest enclave in the beautifully wrought fable of The Horse Tail.  With the former feature was a sweet gritty take on social anxiety in Zane Stein and Nate Pringle’s Super 8 short Hey Guys, How are You? which combines humor with pathos.

Many terrific films today – Mammoth Lakes Film Festival rocks on as truly a fest for filmmakers, innovative and fresh.

  • Genie Davis, photos by Jack Burke