High Altitude Filmmaking at Mammoth Lakes Film Festival on First Full Day

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Our first full day at the Mammoth Lakes Film Festival offered an eclectic and exciting mix of films.

We started our morning with Narrative Shorts Block 1.

Among my favorites was Messy Legend, an hilarious and perfectly realized story of a party girl on the streets of Montréal for an elusive “one last night of party ‘til you drop.” The filmmaking team of James Watts and Kelly Kay Hurcomb created an indelible character played by Hurcomb. Accompanied by a terrific original sound track from the duo’s musical project Voyeurism, this is vibrant, shoestring filmmaking at its best.

Also quite wonderful was Bridge/Keeper from Sinclair Rankin. This film offered an ethereal connection between an inspector of structures and an aging, musical bridge which became a character in its own right. It’s also a beautiful elegy for a real life soon to be demolished bridge between Brooklyn and Queens.

And speaking of elegiac, there was the richly poignant Portuguese film Ode. A grieving father and mother mourn the passing of their son from a hate crime and their lack of acceptance of him when he was alive. As recipients of a balloon that their son blew up as his last act, the couple communicate their true feelings of loss through its haunting  presence. Set at Christmas time, this was a lovely, somber story.

Also in this shorts block, Hyun Kim’s animated short Hills for the Head, in which a young man is forced to run a marathon by his therapist in an analogy to his mental health.

From China, the complex Burning Moon told the tale of Ying, accompanied by her husband and his boss’s mistress Qiqi, returns to her hometown for her sister’s wedding. It’s a story of female oppression and rebellion, couched inside an eerie series of shifting relationships.

Runaway mixed cinematic mediums in the study of Alexia, a runaway who left behind video footage revealing hateful scenes from her parents’ marriage, and her crush on another girl.

Next up, we viewed the documentary feature Union, in which recently fired Chris Smalls took on the behemoth that is Amazon in an effort to unionize at an Amazon warehouse near JFK airport in New York. While serving as a rallying cry for unionization, the compelling film also depicts the internal challenges of organizing amid Amazon’s intensive effort to prevent  employees from joining the union and conflicts among union members.

Immersive and galvanizing, the film also reveals the difficulties of managing the expectations of unionized members and the continued roadblocks enacted by Amazon to prevent meaningful change. Stellar work from filmmakers Stephen T. Maing and Brett Story.

We began our third film block with the short Chomp, paired with the feature Welcome Filmmakers. These experimental horror films did not compel me, so we switched to the other festival programming option, the often mystically lovely narratives short films screening in Narrative Shorts Block 2.

 Ciela was a gorgeous work of magical realism from Mexico, in which an imaginative young girl imagines a stuffed octopus come to life and given magical powers. A truly lovely film from  Mauricio Sierra.

Mothers and Monsters was a surreal, spooky story of an upper class woman hosting a surreal banquet in which her guests are served cabbages containing perfect babies – all except her. It serves as a haunting take on motherhood from Canadian director Édith Jorisch.

A ribald cross between Cabin in the Woods and Mean Girls unfolds at a bachelorette party in the darkly comic Isaac from Samantha Carroll.

Mirage, a mysterious revenge film from Iranian filmmaker Atefeh Salehi, follows a hitchhiking woman on a journey with a truck driver who reminds her of past abuse.

Two other entries in this block of shorts were not viewed.

Finally, we saw the harrowing, exceptional documentary feature, Inheritance. Filmed over a ten year period in a small, decaying Ohio town, filmmakers Matt Moyer & Amy Toensing explored the ravages of addiction, the bonds of family love, and the hope for a better future for the intelligent Curtis, who grows from age 12 to 18 during the course of the film’s depiction of five generations of his extended family. Grandma and family matriarch, Cheryl is another key protagonist in this riveting film.

Do check out the story behind and continuing from this film on the filmmakers’ website, INHERITANCE the film | documentary film.


And before calling it a night, there was a generous late night party at Distant Brewing in Mammoth Lakes – delicious beers and fantastic brew staff plus an opportunity to mingle with filmmakers, fest staff, and sponsors.

It’s not too late to join in the festival experience and fun – for more info and to buy tickets, click here.

  • Written by Genie Davis; photos by Jack Burke

Mammoth Lakes Film Festival Starts 10th Season with Powerful Film

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Celebrating its 10th year of stellar cinema, Mammoth Lakes Film Festival opened tonight with a visceral, important film.

Lucy Lawless of Xena:Warrior Princess fame directs a compelling documentary which has justifiably wowed audiences at a cadre of film festivals this year.

Never Look Away is a wild ride, telling the story of a woman who commanded so many to view the human story of war, involving and riveting her viewers as she skewered expectations as a gutsy CNN camerawoman traversing the globe in perilous times.

Both the stories she revealed and her own personal story are passionate and haunted.

Margaret Moth grew up in an abusive New Zealand home, immigrated to Houston, Texas. There she embraced a punk/Bohemian lifestyle, dropping acid, playing music, and taking lovers, including a 17 year old high school dropout, a relationship essential to both of them for decades.

Grabbing a camera on her many global travels, Moth covered the Middle East for CNN in the turbulent 80s and 90s, putting her life on the line, partying hard, and developing new friendships and loves that were as essential to her life as water.

Her penchant for putting her life on the line to depict horrifying scenes of war with compassion eventually caught up with her. Covering the siege of Sarajevo in the early 90s, she was shot in the face by a sniper.

While the tragic injury severely disfigured her, she endured 25 surgeries to regain as much normalcy as possible – and went back to work.

Lifelong friends admired her, lovers helped or distanced themselves, and her visual stories awakened many to the horrors of war and loss. Her bravery and empathy were only halted by cancer, leading to her death at age 59.

The persistence of a CNN colleague in telling her story and the wistful recollections of her lovers through the years inform the film with personal footage that round out the story of this consummate visual journalist.


Presenting this film as an opening night Spotlight event, MLFF appropriately gifted viewers with a fine film about the power of the moving image, something this festival is well-known for.

Helmed as always by festival director Shira Dubrovner and director of programming Paul Sbrizzi, 2024 looks to be an incredible year of cinematic storytelling.

Rounding out the night, the festival’s opening party presented a tasty spread of hors d’oeuvres and local craft beers, wine, and Yerba Matte along with its signature conviviality in introducing new and accomplished filmmakers to an eager audience – all in the beauty of snowy California mountains.

What are you waiting for? It’s Memorial Weekend, spend it taking in super films amid the pines. For more information and to purchase tickets or passes, click here. 

–  written by Genie Davis, photos by Jack Burke 

 

 

 

 

 

 

 

Wind on the Water – Day Three Musical Magic at Beach Life Festival Blows Out a Bit Early

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Wind was not a band on the Sunday Beach Life Festival playlist, but nonetheless, it played the final song. Extreme wind gusts, swaying lights, blowing sand, and ZZ Top’s beards flowing like flags left and right were all the unfortunate signs of the imminent closure of the fest four hours early.  While Fleet Foxes, Trey Anastasio, and My Morning Jacket were unable to
perform, there was still a great line-up for a Sunday musical brunch to partake of earlier in the day.

It began at 11:30 am on the Hightide main stage with a terrific, power-packed set from Australian pop rockers Atlas genius. Playing a heading mix of songs from 2012 to their latest album release just last week, End of the Tunnel.

The group was generous of time and spirit, strutting the cat walk and sharing stories from pandemic times between melodic hits, including “If So,” “Symptoms,” and “Trojans,” which captivated with extensive radio play in the States nine years ago, as well as new tunes such as “On A Wave.”  It was a great start to the day and another festival highlight.

Next up: the lush harmonies and silky vocals of Sugar Ray on the Lowtide, interspersed with banter about aging, hangovers, and the veteran funk rock performer’s fourth performance with the fest.

The set began with “Someday,”  and ran through a joyous set of hits including “When It’s Over” and pop hit “Fly.”

An unexpected and previously unheard delight was St. Paul and the Broken Bones out of Birmingham, Alabama. Preaching the gospel of “Wolf in Sheeps Clothes” and the semi-eponymous “Broken Bones and Pocket Change,” among others, this mix of New Orleans-style jazz and Southern Soul was absolutely riveting.

Lead singer Paul Janeway has an unbelievable set of pipes, and he took his magnetic personna and vocals off the stage and into the wind blown audience, even climbing up into the VIP viewing area to summon all listeners to his church of music and joy.

All revved up and ready to party, the crowd spilled out the sides and back of the small Riptide stage for the exuberant Latin jazz stylings of Tito Puente Jr.

Wild, profound, and danceable musicianship by Puente and his band,  from “Junior’s Mambo” to “Unforgiven Love.”

Meanwhile, on the increasingly windblown Lowtide stage closest to the water, country girl Margo Price offered a virtuoso country rock n’ roll sound including melodic rockers like “Shelter Me” and “Cocaine Cowboys.”

Playing guitar and drums and belting out tunes of country life, painful love, and independent swagger, her heart was still showing for the simple pleasures of “Tennessee Song,” with lyrics like “Seasons go, seasons come/Who we are and where we’re from/The truth is clear to those who know/As above, so below.”

Another strong performance by a fine female rocker came from Courtney Barnett back at the Hightide main stage. A real wow of a performance from Barnett, her set list shone like a hard bright diamond in the late afternoon sunlight.

Barnett noted the wind several times, but didn’t let it stop her,  offering up greats like “Rae Street,” “History Eraser,” and “Walking on Eggshells” before a strong finish with “Nobody Really Cares If You Don’t Go to the Party.” Her muscular indie alt rock sound has a bit of country twang and a bite of the blues. The Australian artist is one to watch with the release of her latest album at the end of last year,  End of the Day.

Classic blues rock was next up from ZZ Top. Beards whipping around in the increasingly sand-strewn wind on the Lowtide stage, the band vibrated power-packed songs like “Under Pressure,” the band’s big radio hit “Legs,” and a cover of Merle Haggard’s “Sixteen Tons.”

While they got in 12 of 14 songs, the last two were cut off by wind cancelling the rest of the set as the lights swayed and palms bent dramatically above the stage rigging.

We’d alerady switched stages ourselves after the Haggard cover due to the blowing sand, catching the bottom half of a set packed with great tunes from the terrific Gaby Moreno at the Riptide.

Moreno’s music ranges from Latin to jazzy folk and Americana. Great lyrics and passionate vocals delivered to an attentive crowd dancing on the astroturf.  “Dance the Night Away” is a gem; so to is the very different and vibrant “Solid Ground” from her new Dusk.

We were having a fantastic day, and super looking forward to Fleet Foxes back at Hightide, pausing to pick up a slice of pizza before grabbing a spot. But that was when the announcement was made for everyone to calmly evacuate from the nearest exit. We were close to the main entrance, so leave we did, pizza in hand, momentarily glad there’d be only an hour’s break and delay before resuming the fest when wind gusts ceased.

But as soon as we were out of the venue proper, watching fronds fall from palms and the waves crash up against the Redondo Beach pier, it became obvious to me at 5:30 that the fest wouldn’t be resuming an hour later. When  we returned to the press office at 6:45, rumors abounded, and 15 minutes later the official call was made that the festival would not start back up.

While the wind had the last song – a real howler – the fest was a wide-ranging, smooth running, extremely fun event. It was a joy to hear artists new to me, such as Grace McKagan, Jordana, City and Colour, and St. Paul and the Broken Bones, as well as experience favorites like Local Natives, Atlas Genius, and Courtney Barnett all serving up generous full concert-length sets. Classic acts Seal, Sting, DEVO, and Incubus were great to hear live, too. Wind or not, we were blown away by the array of musical talent.

If you missed the event, you’re in luck – you can listen to the fest for free on YouTube – the recaps are on the Beach Life Festival Live You Tube channel. You can also stream via Soundcloud.

  • Genie Davis; photos by Jack Burke

Beach Life Fest 2024 Rocks Out and Rocks On in Redondo Beach

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The second day of the 2024 Beach Life Festival in Redondo Beach was just as exciting as the the first, with a fresh lineup of stellar musicians and great performances. If you missed our coverage of yesterday’s iteration, check out the story and the Beach Life Festival scene, here.

First up for us was Pepper, kickass reggae rockers originally from Hawaii and now of San Diego, in a fun and fiery set.

Along with other songs, the band drew from their latest 2023 6-track EP,  Makai. 

Next was Santigold, wowing the crowd with terrific vocals, costumed dancers, and wild, contagiously joyful rhythm. The indie alt-pop dance band offered a tight, compelling, get on your feet and stay on your feet set that was both party and performance.

Lead singer Santi White vibrated pure energy, including “High Priestess”, the lead single from her most recent fourth album Spirituals in her strong set.

Over on the smaller Riptide stage, Grace McKagan went wild, from kinetic dance moves and kicks to galvanizing vocals, the 26-year-old daughter of Guns and Roses bassist Duff McKagan is accelerating her rock n’ roll heritage big time. Short but brilliant set packed with intensity and fun.

Local Natives were powerhouses on the Hightide stage, starting off their latest tour with a beautifully paced, exciting hour and ten minute performance that was nothing short of electrifying. Lead singer Taylor Rice joked that they sing a lot about sunshine and they brought some to the beach on a previously gray day. Both literally and musically this was the case. Midway through the set, the band brought up singer Jordana, featured on yesterday’s Riptide stage, to join in on “Dark Days.”

Included in the mix were many cuts from the band’s just-released album “But I’ll Wait for You.” There was a first-time-live performance of “April,” and a lush version of the band’s “When am I Going to Lose You” in the tight 12-song set. An exhilerating perfromance and one that will be hard to top at the fest for me.

DEVO played their well-known “Whip It,” donned their signature red plastic flower pot hats, played quirky cool videos and packed the Lowtide stage’s sandy field and even the pathway onto it with new fans and old faithfuls.

“Don’t Shoot (It’s a Man) was the musical opener; there was a fun cover of the Stones’ “Satisfaction,” an “interlude” mid-set with Carl Sagan, and a cool version of “Going Under.” Fans drank it all in, proving “devolution” is still a thing.

At Riptide, the Santa Barbara based punk-surf rockers Cydeways held court to a packed house, thanking concert goers for listening to their sharp sound between songs. Lead singer Dustin Parks killed it, and the crowd loved every minute.

The final act of the night was Incubus, the alt metal funk band drew wildly enthusiastic fans for a strong set enhanced by terrific lighting, alchemic vocals, and a fast-paced set.

Starting with their hit “Quicksand,” they ran through a full 19 songs including their iconic “Pardon Me,” a fresh take cover of The Beatles ‘”Come Together,” as well as David Bowie’s “Let’s Dance.”

Close to the water’s edge at the Speakeasy stage, festival goers got their dance on to the after-party dance mix sounds of DJ Paul Oakenfeld.

Looking very much forward to what the festival’s third day brings. If you’d like to take part, there are still single day GA and VIP tickets available for tomorrow’s show.  Beach Life Festival single-day tickets are $159 (GA), $229 (GA+) and $399 (VIP).  Sunday is still up for grabs, and huge recommends for doing so if you’re a music fan anywhere in the SoCal area tomorrow.

  • Genie Davis; photos by Jack Burke