FRED Film Radio - English Channel: Recent Episodes
FRED Film Radio - English Channel
Welcome to FRED’s channel in ENGLISH Are you a film lover / a film buff / a filmmaker / an actor / a film critic / a journalist / a film student / a festival organizer / a producer / a distributor / a film buyer / a sales agent/ a film publicist interested in independent cinema and film festivals? YOU ARE IN THE RIGHT PLACE FRED FILM RADIO IS YOUR RADIO ! The idea is to allow all those who cannot be at film festivals to share in the experience as if they were, and to offer more in-depth information and targeted entertainment to those actually there. If English is your language, or a language you understand, THIS IS YOUR CHANNEL !
With Naza at the Venice Film Festival 2026, the 83rd edition has completed its Competition lineup. The documentary is directed by Yuval Abraham and Rachel Szor, two of the four co-directors of No Other Land, which won the Academy Award for Best Documentary Feature in 2025. La Biennale di Venezia announced the addition on 24 August, shortly before the festival opens on 2 September.
Naza completes the Venice 2026 CompetitionThe addition of Naza brings the main Competition to 21 films, the maximum number established for the section. The official festival listing gives the documentary a running time of 80 minutes and identifies Hebrew and English as its languages.
Abraham and Szor are making their first appearance in the Venice Film Festival Competition. They join nine other directors making their Competition debut across this year’s 21 titles: Casey Affleck, Alì Asgari, Danny Boyle, May el-Toukhy, Cédric Kahn, Ilya Khrzhanovsky, Lance Oppenheim, Nicolas Pariser and Paolo Strippoli.
Abraham and Szor return after No Other LandAbraham and Szor previously co-directed No Other Land with Basel Adra and Hamdan Ballal. The film won the 2025 Academy Award for Best Documentary Feature, bringing the four filmmakers international recognition.
Naza marks a new collaboration between Abraham and Szor and continues their work on a subject connected to Israel and Palestine, this time focusing explicitly on Gaza.
According to the official synopsis, the documentary was “shot at night on the rooftops of Tel Aviv” and examines systems that, in the film’s formulation, are behind Israel’s mass killing of Palestinian civilians in Gaza. The wording reflects the documentary’s stated investigative premise and is presented by La Biennale as part of the film’s official synopsis.
The Guardian and Jonathan Glazer behind NazaNaza is produced by The Guardian and James Wilson of JW Films, with Jonathan Glazer serving as executive producer. Wilson and Glazer previously worked together on The Zone of Interest, the film that won two Academy Awards in 2024, including Best International Feature Film. La Biennale describes Wilson and Glazer as the Oscar-winning team behind that production.
The Guardian’s involvement is also reflected in the delegation expected for the film’s Venice presentation. According to the festival announcement, the directors and producers will attend together with Guardian journalists and the official delegation.
Naza screenings at Venice 2026The main public screening of Naza is scheduled for 10 September at 17:15 in the Sala Grande of the Palazzo del Cinema. A second public screening is listed for 11 September at 17:00 at the PalaBiennale.
For accredited guests, the festival program also lists screenings on 10 September at 09:00 in Sala Grande and at 11:30 in Sala Darsena, followed by a 17:15 screening in Sala Grande.
The addition of Naza therefore completes the Competition program of the 83rd Venice International Film Festival, which will take place on the Lido between 2 and 12 September 2026.
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The Locarno Film Festival awards for 2026 have given the Pardo d’Oro to You Don’t Belong Here (Nu e locul tau aici) by Romanian filmmaker Florin Șerban, marking his return to feature filmmaking. Centered on the relationship between a father and son, the drama was recognized by the Concorso Internazionale jury for the strength of its screenplay, the singularity of its vision, and its command of cinematic language.
Locarno79, Palmarès, Concorso Internazionale, Pardo d’Oro – Grand Prize of the Festival and City of Locarno, Nu e locul tau aici (You Don’t Belong Here) by Florin ȘerbanLocarno Film Festival awards: Șerban, Hong and Bellucci among the winnersThe Special Jury Prize went to The Riverbank (A Margem do Rio) by Matheus Farias and Enock Carvalho, while Hong Sang-soo received the Pardo for Best Direction for Nowhere to Lay My Eyes (Nun Dul Dega Eomne).
The two awards for Best Performance were presented to Kim Minhee for Nowhere to Lay My Eyes and Monica Bellucci for Giovanni Tortorici’s Ketticè. The International Competition jury also awarded Special Mentions to Xavier Bergeron for Denis Côté’s Violence du corps de l’autre and Teodor Butănescu for You Don’t Belong Here.
Artistic Director Giona A. Nazzaro described the final selection as a contemporary palmarès closely connected with changes affecting the film industry and society, while emphasizing the juries’ attention to cinematic form and language.
The Illusion of an Everlasting Summer takes two Locarno Film Festival prizesOne of the other major winners of the 2026 edition was The Illusion of an Everlasting Summer (La ilusión de un verano sin fin) by Alessandra Sanguinetti, which received both the Pardo d’Oro in the Concorso Cineasti del Presente and the Swatch First Feature Award.
Beatrice Gibson won Best Emerging Director for At Night, while the CINÉ+OCS Special Jury Prize went to Mohanad Yaqubi’s Revolutionaries Never Die. The performance awards in the section were given to Idrissu Tontie Jr. for Ego Reach We All and Manal Issa for L’Estive. Special Mentions went to Lucila Mariani’s Los días libres and Ana Vaz’s Hanabi.
Shorts, Swiss cinema and other Locarno Film Festival awardsIn the Pardi di Domani competitions, Ratchapoom Boonbunchachoke’s The Bovine Comedy won the Pardino d’Oro in the Corti d’Autore competition. Filip Anthonissen’s Melk received the Pardino d’Oro for Best International Short Film and was selected as the Locarno Film Festival’s short-film candidate for the European Film Awards.
In the National Competition, Typhoon Mambo by Domenico Singha Pedroli received the Pardino d’Oro SRG SSR, Alles Gute by Patricia Strübin won the Pardino d’Argento, and Charlyne Genoud’s Respirer une fois sur trois received the award for Best Swiss Newcomer.
The Locarno Kids Award la Mobiliare went to Marleen Valien’s Paradeisa.
The Pardo for Change was awarded to Ego Reach We All (Our Time Will Come) by Amartei Armar, with Special Mentions for Rodrigo Plá’s Los Nuevos and Deepak Rauniyar’s Private Property.
Frank & Louis win the Locarno Film Festival audience awardThe final award of the edition was decided by the Piazza Grande audience. Frank & Louis, directed by Swiss filmmaker Petra Volpe and starring Kingsley Ben-Adir and Rob Morgan, won the Prix du Public UBS 2026.
The prison drama follows Frank, who has spent 20 years behind bars and agrees to care for Louis, an older inmate affected by Alzheimer’s disease. The film was inspired by the Gold Coats caregiving programme at California Men’s Colony in San Luis Obispo and was developed by Volpe over ten years.
Frank & Louis is Volpe’s first English-language feature and follows Heldin (Late Shift), Switzerland’s official submission for the Academy Award for Best International Feature Film.
Locarno Film Festival 2026 closes with more than 150,000 admissionsThe Locarno Film Festival reported more than 150,000 admissions to screenings and public events, based on figures updated through August 15. Cinema attendance reached 91,405, up 4% compared with the previous edition, while Piazza Grande recorded 50,520 admissions.
Locarno Pro also passed the threshold of 2,000 accredited professionals for the first time, reaching 2,140 participants, a 10% increase compared with 2025.
The final evening in Piazza Grande included the closing film Ni vue, ni connue (All About Corinne) by Marc Fitoussi, starring Isabelle Huppert and Sandrine Kiberlain.
The 80th Locarno Film Festival will take place August 4-14, 2027.
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Presented in Un Certain Regard at Cannes 2026 and arriving in Italian theaters via MUBI from August 19, Teenage Sex and Death at Camp Miasma is the new film from Jane Schoenbrun, the American director behind We’re All Going to the World’s Fair and I Saw the TV Glow. Schoenbrun talks about making a film from the other side of transition, the joyful chaos of horror, and how a childhood spent making homemade slasher movies and writing fan fiction became the key to remaking shame into liberation.
A first post-transition filmSchoenbrun describes the new film as, in a way, the true start of a post-transition body of work. Both of her features were made after she came out to herself, but I Saw the TV Glow, shot about a year into hormone therapy, was written in the overwhelming immediate aftermath of telling everyone in her life that she was about to transition. “That was a movie about how overwhelming and insane getting to that place where you’re ready to become yourself is, but it knows better than to try to then explain what’s going to happen once you do become yourself.” When she wrote that film, she says, she wasn’t yet seeing the benefits of transition “like when you get on a medication and all of the bad side effects come first.” This film comes from a different place. “This movie comes from a place of the good having kicked in. It’s a movie about the strange and beautiful and tender process of, for the first time in your life in your 30s, experiencing what most people do in their teen years: coming into a body, a sexuality, and an identity as an adult that feels right.”
Formalism, and letting reality write the endingSchoenbrun keeps rewriting a film all the way up to color correction. “I think it’s the only way to make a movie that feels present and joyful,” she says of a process that is at once meticulously planned and radically open. A show-stopping killing spree set to Counting Crows’ “A Long December” was written for her I Saw the TV Glow collaborators and mapped out over roughly a hundred hours of meetings. “Working with folks you’ve already built a language with lets you be like a ‘dungeon master’ going on an even crazier campaign.” Just as much of the film, though, had to be found in the moment, adapting to a location or an actor as they went. “When you make a live-action film, you are collaborating with reality, and that’s a gift.”
From X-Files fanfiction to homemade slasher moviesLong before film school, Schoenbrun was writing X-Files fanfiction at eight or nine years old. By middle school, armed with a cheap 90s camcorder, she was directing her friends in full slasher plots. “I literally made slasher movies,” she says of the tapes, though a suggestion that one could resurface as a bonus feature is firmly rejected. “I repeat: it will never be released.”
Meeting Gillian AndersonSchoenbrun thought often about Gillian Anderson while writing the film, many of her lesbian friends, she says, describe Anderson as their “awakening” but nothing quite prepared her for actually meeting the actress who shaped her own X-Files-obsessed childhood. “In fourth grade, my most prized possession was an X-Files novelization,” she recalls. Getting on a Zoom call with Anderson decades later felt surreal. “It felt like meeting someone I knew from childhood. But she’s such a serious artist — she is not Dana Scully. She is a full, rich, and tender human being. Collaborating with her was an emotionally rich human experience.”
The ritual and joy of 80s horrorThe film is also a love letter to watching slasher movies without overthinking them, something Schoenbrun traces back to growing up at the video store, where the horror section carried an illicit, almost sexual allure. “In fifth grade, my best friend and I rented every Nightmare on Elm Street movie,” she says. For her, horror has a festivity specific to the genre: “Getting candy, hooting and hollering at the most outrageous death possible. It’s very joyful.” That idea surfaces directly in the film, when young Billy watches people at a strength-testing machine and calls it a “strange mating ritual” Schoenbrun’s own way of describing why audiences keep remaking these movies, year after year.
Little Death: pleasure, death and queering the slasherThe film pokes plenty of fun at pretension, including, Schoenbrun admits, her own pseudo-intellectual academic side. Her protagonist Chris even makes a movie called Vibrance, a retelling of Psycho from the shower curtain’s point of view. But underneath the joke, the intertwining of pleasure and death is the film’s real subject. “I read a lot of Bataille in conceiving the gaze on sex. We’re remaking this mating ritual from some originary desire or trauma.” Fear plays into that too: asked whether the fear of being wrong pushes her character Chris to repress herself, Schoenbrun points to a wider cultural sickness. “We’re all messed up sexually because sexual drives are there from the beginning, and we are formed by a world that is sick, misogynist, and filled with violence that we all carry within us. I think the movies are about creating a space to explore all of that that isn’t war. It’s pretend; if it gets too real, you can turn it off.” That drive to queer the genre’s fixed roles – “the killer, the victim, the final girl” — runs through the whole film, turning the slasher into a means of both desire and release.
The trans monster, and remaking shame into liberationSchoenbrun has long been aware of horror’s uglier undercurrents, from the genre’s overlap with exploitation films like I Spit on Your Grave to what she calls the lineage of the “trans monster” like Norman Bates, Buffalo Bill, Dressed to Kill, Sleepaway Camp, all directly referenced in the new film. “Growing up in the 90s, my primary association with transness was these monsters,” she says. Making a personal film about feeling good in her own body meant confronting that history head-on. “It felt obvious that if I was going to make a personal movie about feeling good in my body, that shame was the villain. It’s an internalized shame that came from culture. I used the history of gender deviance in slasher films toward my own ends of reaching liberation and letting out shame.” The film, she says, is a remake in more ways than one. “My movie is a remake because I am trying to quite literally remake myself and remake that iconography into something that doesn’t make me feel like s*** as a kid.”
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Mamadou Dia returns to Locarno 79 with “Atcha Atcha” out of CompetitionAfter winning Golden Leopard for Filmmakers of the Present in 2019 with his first feature , senegalese director Mamadou Dia returns to the 79° Locarno Film Festival 2026 with he documentary “Atcha Atcha”, screened out of competition.
“Atcha Atcha” was also developed inside Final Cut in Venice 2025, where it won the prize offered by Organisation Internationale de la Francophonie (OIF).
L’École des Sables in Senegal and Germaine Acogny“Achacha Atcha” is a phrase used in local languages like Wolof to mean “let’s go”: it serves as a symbol for movement and change. The film is set inside the École des Sables in Senegal, and follows dancers from various African countries as they undergo an intensive three-year training program under the guidance of legendary choreographer Germaine Acogny.
The film explores themes of cultural preservation, identity, and the risk of losing important community spaces.
“Atcha Atcha” : the production process and Final Cut in VeniceMamadou Dia also discussed his long-term observational approach during filmmaking. He shared insights into the process of capturing the dancers’ development and the challenges faced during production, including funding and editing. He highlighted the collaboration with the french producer Eugénie Michel Villette (Les Films du Bilboquet) and the role of different production companies involved, as well as the support received from Venice’s Final Cut workshop inside the Venice Production Bridge.
Support to African CinemaFinally, Mamadou Dia talked about his future projects and the potential to support cinema development in Africa.
He mentioned his ongoing work on a fiction film set in northern Senegal, which involves police investigation and local folklore.
Mamadou Dia expressed hope to create a cinema school in Senegal or join existing initiatives to nurture local talent, acknowledging the importance of festivals like Locarno and Venice in supporting African cinema infrastructure. He concluded by emphasizing the importance of sharing African films globally and fostering networks to ensure these stories reach wider audiences, all while reflecting on the ongoing environmental and cultural challenges facing his homeland.
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23° Giornate degli AutoriThe 23rd edition of Giornate degli Autori will take place during the 83rd Venice International Film Festival, scheduled for 2-12 September 2026. This year’s programme is dedicated to Giorgio Gosetti, who founded the independent section in 2004 and remained one of its central figures for more than two decades.
“Stay with me!”, the phrase Gosetti often addressed to the festival team during the most demanding days of the event, has become the guiding principle of an edition marked by his sudden death on 6 March 2026.
Promoted by ANAC and 100autori, Giornate degli Autori confirms its commitment to cinematic discovery, artistic freedom and dialogue among filmmakers, audiences and professionals.
Speaking to Chiara Nicoletti for FRED Film Radio after the programme presentation, artistic director Gaia Furrer reflected on the unity Gosetti built within the organisation.
“We were hit by everything we did not want and did not expect. Fortunately, Giorgio made the Giornate team incredibly close and united. Together, we managed to move forward and carry his legacy with us.”
Giorgio GosettiTwenty-five world premieres and ten competition titlesThe 2026 selection was chosen among 1,036 submissions representing 114 countries. It includes 25 world premieres, 14 films directed by women and 13 Italian productions or co-productions.
Ten films will compete for the GdA Director’s Award. The programme also features one closing film out of competition, five special events and nine titles in Notti Veneziane, organised in collaboration with Isola Edipo.
The competition includes works connected to Australia, Switzerland, Serbia, Mexico, Argentina, Ukraine and Nigeria, which enters the Giornate degli Autori competition for the first time. Balcanica by Nicola Sorcinelli is the only Italian title in competition.
The opening film is My Notes on Mars by Hungarian filmmaker Lili Horvát, who previously attended the section in 2020 with Preparations to Be Together for an Unknown Period of Time. Her first English-language feature stars Mackenzie Davis and Rupert Friend.
Notti Veneziane will open with Scarpe rotte by Roberta Torre, starring Barbara Ronchi. Torre returns after presenting Le favolose in 2022. The programme also includes Robert Guédiguian with Une femme aujourd’hui, while Peau d’homme by Léa Domenach, starring Karin Viard and Catherine Deneuve, will close the edition.
A selection about displacement and belongingThe programme embraces sentimental science fiction, melodrama, historical cinema, an anti-heroic western, musical comedy and works suspended between documentary and fiction.
According to Gaia Furrer, the films are linked by characters who must reconsider identity, roots and belonging after losing their place in the world.
“You will encounter a very eclectic journey, with films engaging with different genres. There is western, melodrama, science fiction and historical cinema, alongside an important geographical variety,” she said.
“These are often characters who have had to leave their place in the world and must search for a new one, redefining their identity through a new idea of belonging.”
An all-female juryThe GdA Director’s Award, worth €20,000 and shared between the filmmaker and the international distributor, will be assigned by a jury composed of Spanish director Carla Simón, Italian filmmaker and editor Sara Fgaier, and Hania Mroué, director of Beirut’s Metropolis cinema.
Furrer explained that the jury’s composition was not planned as a symbolic gesture.
“We selected Carla Simón as president and then chose the other members. Only afterwards did we realise they were all women. Considering how many festivals have had all-male juries, it did not seem inappropriate.”
The Sala Perla audience will assign the Audience Award, while the Europa Cinemas jury will select the winner of its Label among the European titles.
Cinema, visual arts and public debateThe 2026 edition will pay tribute to Carla Lonzi, Natalia Ginzburg and Fernanda Wittgens, three major figures in 20th-century Italian culture.
The Miu Miu Women’s Tales project will present new short films by Claire Denis and Mona Fastvold, continuing a collaboration now in its fifteenth year. The official image has been created by Japanese photographer Rinko Kawauchi, whose work places the wonder of ordinary life at its centre.
Casa degli Autori and Sala Laguna will again host #confronti, a programme of screenings, debates and public conversations. Confirmed events include La Déclaration des Cinéastes, a session on film music organised with ACMF, a masterclass devoted to illustrator and poster artist Carlantonio Longi, and the second edition of Africa Chiama.
The collaboration with Isola Edipo will continue through events dedicated to memory, film education and industry development. Laguna Film Lab, a new year-long artistic residency named after Giorgio Gosetti, will support the creation of a collective film.
A new partnership with Venezia Cult will also bring Leo Ortolani and Dave McKean to Sala Laguna. McKean will be the subject of the exhibition Pictures that dream at La Villa.
The vitality of Italian independent cinemaFurrer also highlighted the strength of the Italian independent scene represented across the official selection and Notti Veneziane.
“This selection shows the great vitality of independent Italian cinema. There is an extremely lively creative ecosystem, with films made outside traditional structures that are able to speak about our present.”
For the artistic director, however, Giornate degli Autori remains more than a film selection.
“The films are the beacon, but they would not be enough. We need a family, we need a place. During the pandemic, we understood even more clearly how important it is to meet, exchange affection and share passions.”
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The Venice International Film Critics’ Week has unveiled the programme of its 41st edition. It will take place on the Venice Lido from 2 to 12 September 2026, during the 83rd Venice International Film Festival.
The Italian National Union of Film Critics organises the independent section. It will present seven debut features in competition and two special events out of competition. Every title will screen as a world premiere.
General Delegate and Artistic Director Beatrice Fiorentino curated the programme. The selection committee also includes Matteo Berardini, Marianna Cappi, Francesco Grieco and Marco Romagna.
“Imagining the future. Resisting the present” defines this year’s direction. The films approach cinema as an act of responsibility and formal research. They also examine a world shaped by political, social and technological change.
Speaking with Chiara Nicoletti for FRED Film Radio, Fiorentino explained the selection principle. “We cannot shut ourselves inside a bubble and pretend not to see what is happening outside.”
Programming as a political choiceFor Fiorentino, festival programming is never neutral. Images reflect the world in which they are produced. Therefore, choosing which stories to show also means taking a position.
“When you programme a festival, you encounter stories and images that mirror the world in which we live,” she said. “Choosing which stories should be shown becomes an act of responsibility.”
However, the final line-up also emerged through a fluid process. “You make programmes with the stories you encounter. The selection process is very dynamic,” Fiorentino noted. “At a certain point, the programme partly shapes itself.”
The political character of the selection concerns both content and form. “Every film is political,” she said. “We care deeply about language and formal research. We listened to political stories and tried to make the selection politically.”
The programme also includes several independent productions. Some were made with limited resources. Nevertheless, Fiorentino stressed their artistic precision and strong awareness of the medium.
Colombia, archives and historical memoryTwo films represent Colombia. The End of Times, directed by Bibiana Rojas Gómez and Juan David Cárdenas, combines family archives, colonial memory and artificial intelligence.
The film questions the need to generate new images in an already saturated world. “There is a declaration of image economy at the basis of the project,” Fiorentino explained. “Does it still make sense to shoot new images, or can cinema use those that already exist?”
A woman searches for the origins of her mother’s sadness. Gradually, that private investigation reveals the trauma of an entire country. “While looking for the reasons behind one woman’s suffering, the film discovers the roots of a people’s malaise.”
The second Colombian title is Meteorite by Sebastián Múnera. It follows two women through a landscape marked by violence. A theme park built on the ruins of Escobar’s empire stands beside a regional prison.
Bodies, technology and environmental crisisTunisia enters the competition with The H@llow Man by Kamel Laaridhi. The dystopian drama is set in 2059. In its world, a biochip controls memories and suppresses emotions.
“It is a form of para-science fiction,” Fiorentino said. “The future becomes a pretext for bringing present urgencies back into focus.” In the film, poetry becomes a defence against technological control.
Brazilian directors Victor Di Marco and Márcio Picoli present London. The queer drama explores disability, sexuality and self-determination. It also rejects reducing identity to a clinical diagnosis.
Meanwhile, Our Share of Sand by Shalini Adnani examines inequality and environmental exploitation. The India, United Kingdom and Greece co-production begins as a family drama. It then exposes a system shaped by silence, profit and sand extraction.
Italian masculinity and Generation ZItaly competes with Before the War by Tommaso Usberti. The film is co-produced with France and set in the Po Valley.
Its protagonist grew up in a racist and misogynistic environment. He must confront a model of masculinity based on violence and emotional repression.
Fiorentino described it as “a film that feels both contemporary and ancient.” She also noted “a Pasolinian tragedy of bodies” and landscapes that recall the early Bernardo Bertolucci.
Zoom In, Zoom Out by Dong Jie represent China. The urban mystery combines online gaming, digital identity and alienation.
Fiorentino called it “a manifesto film for Generation Z.” She also described it as “an updated Blow-Up and L’Avventura for the age of online gaming.”
The Italian opening and closing filmsThe section will open with Giaffa the Great by Marco Santi. The cast includes Edoardo Pesce, Carlotta Gamba, Barbara Chichiarelli and Roberto Zibetti.
The protagonist is a socially invisible man. He is willing to alter his identity to be recognised.
According to Fiorentino, the film reflects “a completely schizophrenic society in which all points of reference have collapsed.” She added, “Being seen and finding a role in the system becomes more important than finding oneself.”
The closing film is Rider by Roan Johnson and Davide Pavanello. The rap musical features Levante, Rosa Chemical and Margherita Vicario.
“It was immediately striking,” Fiorentino said. “Even the spoken sections are in verse.” She compared its energy to an updated West Side Story.
The film addresses precarious labour, generational conflict and class divisions. “There is still a class conflict that nobody discusses anymore,” she said. “Yet it is far from resolved.”
SIC@SIC and the awardsThe programme also includes the 11th edition of SIC@SIC, developed with Cinecittà. The Critics’ House will also return in a new location.
Competition titles will be eligible for the IWONDERFULL Grand Prize, the Audience Award and the Luciano Sovena Award. They will also compete for the Mario Serandrei Award and the Verona Film Club Award.
Eligible debuts will enter the race for the Lion of the Future, the Venice Award for a Debut Film.
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The 83rd Venice International Film Festival, directed by Alberto Barbera, has revealed the films that will open and close its 2026 edition.
Danny Boyle‘s Ink will launch the festival on Wednesday, 2 September. The film will screen in Competition at the Sala Grande on the Venice Lido.
The festival will end on Saturday, 12 September, with the world premiere of Giovanni Veronesi‘s Dio ride. The historical drama will screen Out of Competition immediately after the awards ceremony.
The two films tell very different stories. Yet both explore how ideas shape society. Boyle examines the rise of modern mass media. Veronesi examines the relationship among faith, power, and individual freedom.
Danny Boyle opens Venice with InkInk by Danny BoyleDanny Boyle returns with Ink, his first film selected for the official programme of the Venice Film Festival.
Screenwriter James Graham adapted the screenplay from his Tony Award-nominated stage play. Boyle sets the story in 1969, when Rupert Murdoch acquired The Sun and appointed Larry Lamb as editor.
The film follows their partnership as they reshape British journalism. Their editorial strategy turns The Sun into the country’s best-selling tabloid and changes the relationship between newspapers, politics and public opinion.
Jack O’Connell plays Larry Lamb. Guy Pearce stars as Rupert Murdoch, while Claire Foy plays Jules Davies.
Boyle welcomed the invitation to Venice and called it “an immense honour.”
“1969 is remembered as the year we first landed on the Moon,” he said. “It is also the year Rupert Murdoch and Larry Lamb launched a newspaper that changed the world in another way.”
Alberto Barbera praised the project for bringing together Boyle, Graham and “three of the most highly regarded actors in contemporary British cinema.”
STUDIOCANAL, MEDIA RES and House Productions produce Ink. Lucky Red will distribute the film in Italy.
Giovanni Veronesi closes the festival with Dio ridePierfrancesco Favino in Dio Ride di Giovanni VeronesiGiovanni Veronesi will close this year‘s Venice Film Festival with Dio ride. The film will receive its world premiere on 12 September at the Sala Grande.
Veronesi freely draws on real events and sets the story in seventeenth-century Italy. The protagonist is Fra Leopoldo da Casamacchia, a friar who speaks about God with joy and simplicity. His sermons attract thousands of followers and spread quickly across the countryside.
While the Church continues to preach in Latin, Leopoldo speaks directly to ordinary people. He offers hope instead of fear and presents a God who laughs alongside humanity.
His growing popularity soon reaches Rome. Pope Innocent X asks Cardinal Maculani, one of the Church’s leading inquisitors, to investigate. What begins as a trial soon becomes a debate about faith, truth and authority.
The cast includes Pierfrancesco Favino, Silvio Orlando, Alma Noce, Francesco Gheghi, Maurizio Lombardi, Paolo Rossi and Carlo Cecchi, who plays Pope Innocent X.
Veronesi admitted that the invitation came as a surprise. “I usually struggle to express my emotions. This invitation to the Venice Film Festival surprised and honoured me. I’m happy. There, I’ve said it.”
Barbera believes the film captures the best tradition of Italian cinema. “We will close the festival on a high note thanks to Giovanni Veronesi and his outstanding cast. They combine irony and lightness with a subject that usually receives a much more solemn treatment.”
Veronesi wrote the screenplay with Nicola Baldoni, Gianluca Bernardini and Nicola Deorsola. Paolo Portone and Jean Jacques Ilunga collaborated on the script.
Indiana Production, a VUELTA company, produces the film in collaboration with Netflix, PiperFilm and Ogi Film.
PiperFilm will release Dio ride in Italian cinemas on 29 October. PiperPlay handles international sales.
Two films that reflect on power and influenceThe Venice Film Festival has chosen two films that speak to each other despite their different settings.
Ink explores a decisive moment in the history of modern journalism. It shows how newspapers shaped public opinion during a period of profound social change.
Dio ride moves back three centuries. It follows a man whose message of compassion challenges religious and political authority.
One story centres on the media. The other focuses on faith. Both ask the same question: who has the power to shape public thought?
Together, the two films frame the 2026 Venice Film Festival with stories about influence, belief and the forces that continue to define contemporary society.
The post Venice Film Festival 2026 announces opening and closing films: Danny Boyle’s Ink and Giovanni Veronesi’s Dio ride appeared first on Fred Film Radio.
Belgian filmmaker Isabelle Tollenaere, already known and acclaimed at major festivals for her highly poetic hybrid documentaries exploring “the interplay between the rapid transformation of our physical world and the human experience of time and memory”, such as Battles (2015) and Victoria (2020), has just presented her first scripted feature film, a docufiction suggestively titled Paris Paris, in the Proxima Competition of the 60th Karlovy Vary Film Festival (July 3-11, 2026).
This work – another beautiful and deeply moving expression of her fascination with places and their constant transformation in resonance with the individuals inhabiting them, and with what traces they leave when one or the other disappears – is indeed reminding, well beyond its title, of the mix of melancholy and tenderness found in another film where the “Paris” opening the title was not in France, and also bears echoes of another one which could have been called “Paterson, Paterson” – and generally speaking of the body of work of both the cult filmmakers to whom we owe these masterpieces –, while the framing of its scenes and the bareness of its setup crowded with existentialism often evokes a slightly less defeated Samuel Beckett, as humour and human connection really shine through in Paris Paris (with no comma between the two city names).
As Tollenaere herself points out, in her first reality-based fiction work, the underlying themes of alienation, bottomless nostalgia for places which do not exist anymore, and suppressed longing, as only the present seems to count, are balanced by the friendship and warmth of the variegated community of displaced people we meet as they try to find their place in Paris, France – at the language class where the film starts, but especially between the naked walls (except for one adorned with wallpaper featuring the Eiffel Tower) of the abandoned flat where three most endearing characters Yi-En from China, Junior from the Democratic Republic of Congo, and Hamzah from Palestine end up “finding a home with each other”.
A replica of Paris in China as the spark for the filmOn what sparked the making of this movie: “When I found out there was a replica of Paris that was built in China, I was immediately fascinated by this and I also quite immediately had the idea to make a film based on the doubling of the same city, without knowing what it could entail yet.”
“So I went to Tianducheng, which is where the replica of Paris was built, and I was really struck by this construction fever that I saw everywhere. Entire neighbourhoods were being demolished and there was construction happening everywhere, so there was a drastically rapid changing of the landscape occurring, and I also heard testimonies of people saying ‘when I leave home for a while and come back, I don’t recognise the place anymore. I can’t find my way home anymore,’ so this is when the themes of loss, disappearance, memory, and the precariousness of home first started erupting.”
“And then I thought that maybe I could combine this with filming a Chinese community or a Chinese person in Paris, France but then I felt like I did not want to focus too much on the concept of China, but more on the feeling of foreignness and alienation and on this idea of having to leave home behind and trying to find a new home in this new place, so I came up with a story of the three men coming from very different parts of the world, each carrying memories of other cities with them.”
A script written over ten years, shaped by real livesOn the incredibly precise and rich script, so elegantly carried by the thoughtful mise-en-scène and cinematography that it lets meaning emerge and texture build in the space between the lines: “As I was telling the Czech audience the other day, I actually wrote the first draft in the Czech Republic, where I came on a holiday, back in 2015, so I worked on it for a very long time.”
“[It represents] many years of finding things in reality and bringing them into the script, and then again throughout the process of the casting and the repetitions that we did, during which they [the non-professional actors, here playing slightly different versions of themselves] brought their personal stories and personal objects, and [in the case of Mahmoud], who actually writes poetry, the poem I included in the film, after he recited it for me, and all these things sort of came together.”
“Which was super fascinating, […] and I feel like it makes the script more alive and much more valid and true, and this is also what excites me in filmmaking: this exchange with the people I work with and what they bring to the film and how they help shape the film.”
Disappearing, with or without a traceAbout disappearing, with or without a trace: This recurring motif “speaks of the reality of their situation”, says Tollenaere, and she witnessed it first hand during her research on the ground.
“People sometimes just completely disappeared, and I don’t know what happened to them and it really touched me a lot, so I wanted to include this in the film. It is a very precarious situation, and although there is a lot of lightness in the film […], I also wanted to bring out this reality of their situation, and the hardship of the situation and the inhumanness of the situation.”
Balancing hardship with warmth and humourOn finding the right balance between hardship and warmth: “I wanted to strike a balance between making a very political film and, on the other hand, [also having] a lightheartedness and a kind of humour in the film, and a playfulness – not to diminish this reality, au contraire, but actually to show these people’s resilience and their humanness.”
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After premiering his first feature (Namo, 2020) at the Berlinale, his second (The End, 2022) in Busan, and collecting the Audience Award in Venice with the third (The Witness, 2024), acclaimed Berlin-based Iranian filmmaker Nader Saeivar celebrated the premiere of Hijamat, his fourth feature as a director, Czech style, at the 60th Karlovy Vary Film Festival (July 3-11, 2026).
The narrative pace and style of this contender for the Crystal Globe, set in Berlin amongst a rather instantly claustrophobic Turkish community presenting a boisterous mosaic of stifling religion-related conundrums, clearly bears the signature which has earned Saeivar international recognition as a screenwriter and regular collaborator of Jafar Panahi, especially for the latter’s 3 Faces (2018), which garnered the Best Screenplay award in Cannes, and of course for his more recent It Was Just an Accident, winner of the 2025 Palme d’Or, which they also wrote together.
This immediately recognisable footprint certainly also has to do with the fact that Jafar Panahi produced Hijamat, and served as the film’s editor as well.
A community’s diversity crushed by one rigid authorityThe whole progression of Hijamat hinges on the irreconcilable contradiction between the evident diversity (of generations, of relationships with traditions, of “ways of being a Muslim”, or of sexual identities) existing even within this tight-knit community and the monolithic rigidity of what is considered acceptable by the local imam, whose prescriptions everyone in the community constantly seeks, on each and every subject of daily life, anchoring the hold of this religious authority on the private sphere, which becomes inexistant, and obliterating the individual itself.
In the case of the main character, Murad (Kida Khodr Ramadan), who takes it upon himself to support his brother Kerem, exposed as gay, the notion of sin which the imam systematically dangles over every situation manifests in the form of his stifling sense of duty, which clearly appears as a deeply internalised corollary concept from which Murad cannot escape, having chosen to stay repressed.
Berlin, and the mental walls people build around themselvesOn the apparent paradox of having a variegated community and one single inescapable guiding principle: “I was really lucky that my first destination, when I emigrated, was Berlin, a very cosmopolitan, multicultural city where you cannot say which culture is the dominant culture. Many Germans believe that they themselves are foreigners in their own city. When I arrived in Berlin, discovering this multicultural city changed my way of thinking and of seeing things.”
“Then I realised that everybody, of all generations and ethnicities etc., had, all of them, one problem, and that’s the mental walls they build around themselves. You can see it very often in Berlin, everywhere. These walls are made of different materials, but all of them are really tall. For muslim communities for example, these walls are made of religion or superstitions, but for the Westerners, these walls are made of rigid laws and regulations and they think nothing can be changed, nothing can transcend that. So I decided that if I was going to live in Berlin, the first thing I was going to do is attack these walls.”
The meaning behind the title: drawing out the “dirty blood”On the meaning of the “hijamat” in the film: The title refers to a technique frequently practiced in many Muslim countries, which involves placing cups on someone’s back to pull the skin into traction, which results in a laceration of the skin with drawing of blood into the cup.
Saeivar explains that as Murad feels that the community, whilst also offering protection, is controlling his life, dictating all the rules, “in order to overcome these rules, he changes his blood, takes out the dirty blood, which is the symbol of wrong beliefs, or outdated beliefs.”
As the conversation then moves to the many interesting, key characters in the film, which includes the young, sleepwalking son (the first character to appear, in the very first shot), the screenwriter-director adds that “in many religious, if you don’t change these outdated and wrong beliefs, old beliefs, if you don’t remove that blood, these things can happen again to the next generations, repeat themselves, as you can see through the son.”
Nastassja Kinski as the ghost of Germany’s pastAmongst the many motifs running through the film are the function of stories, painting, the Kosovar Muslim wife of Murad, Leyla (Nicolette Krebitz), and also the strictly peripheral presence of Berlin and Germany around this community, with the exception of one recurring figure – a disturbed German elderly woman played by Nastassja Kinski.
“The reason why I chose Nastassja Kinski for the role of Margot, says Nader Saeivar, is that she represents the glorious past of Germany and German cinema, as well as modern Germany, the reality of today, which is that what was once working does not work anymore. [She is consumed] by her memories, by the fact that she lives in the past. This is exactly what religion does in the East. What religion does in the East, memories and the past are doing to the Westerners.”
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Director Jan-Eric Mack and co-writer and actress Anna Schinz met us during the 60th Karlovy Vary Film Festival (July 3-11, 2026) to talk about the former’s first solo feature, A Happy Family, the first ever Swiss film to run for the prestigious Crystal Globe.
This story of a struggling single mother, covered in debts and juggling several menial jobs which distract her from properly taking care of her two children despite her best efforts, which then leads social services to entrust the kids to a temporary foster family on the other side of the country, owed Anna Schinz the Best Actress Award at the closing ceremony.
A project born out of an image seen during the pandemicOn the origins of the project, Jan-Eric Mack: “It came by just by chance actually. We started doing research after we had seen, during the covid pandemic, people queueing up for food in Switzerland, which is really an image we hadn’t seen before. It’s not something you see very often there, poverty on the street, because it’s something which is mainly hidden, and that’s why we got into this topic, to find out who is affected and why.”
A title that invites reflection on the meaning of familyJ.-E. M.: “For us, it was important not to have that title be cynical, but to think about what is a happy family and ask if that image of a perfect happy family really exists, because we firmly believe everybody has a different view on this topic, and there is no family without trouble or a second layer.”
Refusing to judge this struggling mother, or anyone involvedAnna Schinz: “We tried to like capture the whole complexity of this subject, including on the side of the authorities – their work and what they do. It’s not about black or white, it’s not about good or bad, it’s not about blaming anybody: it’s about life, and people, human beings, making mistakes.”
It takes a village: realising she cannot do it all aloneJ.-E. M.: “It was important that she realised that she is part of the solution in the end, after she brings her own child into a big conflict of loyalty by overstepping all these borders just to be close to them. We understand her need to be close to them, but at the same time, it’s kind of a selfish act. We always tried to understand and ask ourselves: ‘What would I do? Could I just stay at home and do nothing?'”
“But actually we found out, doing our research, that everybody was searching for their kids, always! That’s what the officials told us, and even if it means becoming a criminal, they just want to have their kids back.”
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American actress Ellen Burstyn has been awarded the Golden Lion for Lifetime Achievement at the 83rd Venice International Film Festival, which will take place between September 2 and September 12, 2026.
The decision was approved by the Board of Directors of La Biennale di Venezia following a proposal by Artistic Director Alberto Barbera.
Burstyn becomes the second recipient of this year’s career honour after George Clooney, whose Golden Lion for Lifetime Achievement was announced earlier by the festival.
Widely regarded as one of the defining actresses of modern American cinema, Burstyn has built an extraordinary career spanning more than six decades across film, theatre and television. Her performances in The Last Picture Show, The Exorcist, Alice Doesn’t Live Here Anymore, Resurrection, Requiem for a Dream and Interstellar have secured her place among the most influential performers of her generation.
“I feel so honoured”Accepting the award, Burstyn expressed her excitement with characteristic warmth.
“Wow! Not only do I get to travel to one of my favourite cities in the world, but I’ll be going home holding a Golden Lion in my arms. The Golden Lion for Lifetime Achievement from the Venice Film Festival! I feel so honoured, so happy, so full of gratitude. Truly, wow!” said Ellen Burstyn.
Alberto Barbera: “An actress of rare intensity”In announcing the award, Alberto Barbera praised Burstyn as an actress whose performances have consistently revealed emotional truth and extraordinary depth.
He highlighted her breakthrough in Peter Bogdanovich’s The Last Picture Show, her international recognition with William Friedkin’s The Exorcist, and her Academy Award-winning performance in Martin Scorsese’s Alice Doesn’t Live Here Anymore. He also recalled her collaborations with filmmakers including Alain Resnais, Paul Schrader, Bob Rafelson, Paul Mazursky, Darren Aronofsky and Christopher Nolan, describing her as a performer whose work has become a benchmark of authenticity and artistic integrity.
The award ceremony and Flesh ImpactBurstyn will receive the Golden Lion ahead of the world premiere of Maggie Gyllenhaal‘s short film Flesh Impact, a tribute to Marilyn Monroe marking the centenary of her birth.
The ceremony will be hosted by Greta Scarano and Nicolas Maupas, recently announced as the presenters of both the opening and closing ceremonies of the 83rd Venice International Film Festival.
The short film stars Dakota Johnson, Peter Sarsgaard, Sepideh Moafi, and Burstyn. Johnson portrays Monroe at the height of her fame, while Burstyn plays an imagined older version of the Hollywood icon. The title Flesh Impact references the expression once used to describe Monroe’s almost tangible screen presence.
A career across six decadesBurstyn belongs to the exclusive group of performers who have achieved the Triple Crown of Acting, having won an Academy Award, a Tony Award and two Emmy Awards. She has earned six Academy Award nominations and remains one of the most respected figures in American acting.
Her recent projects include The Exorcist: Believer, Mother, Couch, The First Lady and Law & Order: Organized Crime. She will next appear in Place To Be, directed by Kornél Mundruczó and co-starring Taika Waititi.
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Serbian director Miroslav Terzić has just premiered his third feature, 3 Weeks After, in the Crystal Globe Competition of the Karlovy Vary Film Festival 2026.
This relentlessly cruel story about bullying, at once fascinating and hard to watch, implacable and extremely layered, deeply anchored in reality and allegorical in its very striking and masterful aesthetics, garnered the Europa Cinemas Label.
The jury, unanimously “captivated right from the first shot and until the very end”, was impressed by the “remarkably strong and authentic performance” delivered by the ensemble cast, the choice of portraying the lives of “adolescents today through their own eyes, allowing their voices and perspectives to shape the narrative in a genuine and convincing way,” and found “Miroslav Terzić’s filmmaking stunning in every aspect of its craft.”
“The film,” the jury concluded, “urges us to truly hear young people, be there for them and not look away!”
A project born from a single sentence, ten years agoThe project, Terzić explains, started over ten years ago, when Branislav Trifunović, the producer of the film (and actor, in the role of the maths teacher supervising the school trip next to the head teacher played by Tihana Lazović), and Vladimir Arsenijević, the screenwriter, started to work on this script about peer violence and called him.
“We decided not to make some kind of docu story on one specific case,” says the director. Within the research material, he remembers, there was one sentence, from the mother of a boy who committed suicide, who said that the class went on an excursion three weeks after the fact, so “we tried to imagine what that excursion would look like.”
Not just bullying, but a violent societyHowever, continues Miroslav Terzić, “as we tried to find the best way to tell the story, we realised it was not just about peer violence, but about a violent society, about violence, and we live in that society. When you turn around, watch TV or Internet or whatever, there is violence all around us, and we were struck by that normalisation of violence.”
“So we tried to show the audience that they are in the fire too – which is why there is a fire in the beginning, but no one is doing anything to prevent it –, that we are in the fire right now, at this very moment, but we are turning our heads [the other way].”
The responsibility of adults, and the fading of empathyIf the film certainly includes a commentary on the current young generation present in the film, it also suggests that the responsibility lies with the grown-ups, and with society as a whole: “They have grown up with the Internet, their phone is like a new organ for them, and they see the world through that, and what we serve them through that is disturbing, so we cannot expect… Somehow, empathy […] is slowly fading away from this society, [it’s almost] extinct, so I think that that we must teach them to feel again, not to be afraid to have real feelings.”
“They are protected by their phones and live some kind of alternative life, so we must teach them to see violence and to stand up against it, even if it’s hard, and help whoever needs help. Because in every story about bullying, there are three sides, not two: there is the bully, there is the victim, and there is a third side, and it is the biggest one, which is that of the spectators, the people who are watching and do not interfere. It is them who let the bullies have all the power.”
“[…] We gave them that power by not protecting the weak, the people who need help. […] I’m blaming society, because when tragedies happen, everyone talks about it and after three days, everyone forgets and continues on with their life, but this is not enough time to deal with that tragedy, [and it means we are not doing] anything to prevent a new tragedy.”
A striking, allegorical aesthetic to multiply perspectivesThe striking aesthetics of 3 Weeks After also takes the subject to another, more abstract or allegorical dimension, beyond the Balkans angle or the generational and societal comment.
“We wanted to tackle this topic from many different angles,” Terzić points out, “and leave it to the audience to decide how they choose to approach it. […] There are a lot of underlying layers and a lot of metaphorical and allegorical elements, and we break the fourth wall too, three times, in the movie.”
We also discuss the moral reflection stemmed by the “they made me do it” argument, the animality the group reverts to, the implications of the inherent gregariousness of humans, the purifying symbolism of the cave where the guilt-ridden victim finds a refuge, and the longing for connection and embrace expressed in the magnificent ending.
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Eight years after the premiere of Pause, her debut feature (after several internationally acclaimed shorts, followed by a few more after Pause), at the Karlovy Vary Film Festival (East of the West Competition), Tonia Mishiali was back at the Czech event 2026 with her second feature-length movie, The Lion at My Back, this time vying for the Crystal Globe, and was awarded the Grand Prize of the Ecumenical Jury.
We met the Cypriot director to discuss further this work, announced as the second instalment of a trilogy exploring the role of women in modern-day society, where the thoughtful mise en scène and the splendid, impactful cinematography actively accompany, in the many spaces where the action of this Cyprus-set story unfolds, the two female protagonists.
A forty something local with a past who is fighting for the custody of her daughter and a young migrant who finds herself outside the door of the home where she was living on her 18th birthday – compellingly embodied, with all their nuances and contradictions, by Elena Kallinikou and Sokhna Diallo – as they struggle to find their place, and gradually develop a moving bond which ends feeling like home.
A mother-daughter story rooted in personal experienceOn the background of the story, Mishiali explains that the idea to pair an ode to the mother-daughter relationship with the depiction of the situation of a young immigrant came from her personal attachment to both themes (being a mother and “a refugee in [her] my own country”), and was further fuelled by her encounter with women, mostly African, seeking asylum in Cyprus.
We also talk about the way the film combines intimate close ups with an interesting treatment of space, or rather spaces (from safe to hostile, open to claustrophobic, inhumane to warm), including “the space that is contained within them”, which the director approached instinctively, with an awareness of her characters’ need to breathe, too.
Shooting on 16mm for a rawer, more organic feelOn the choice to shoot on 16mm: “I first met Manu Tilinski, my cinematographer, in Athens, because I wanted to work with a new cinematographer and so I met a few, and in my mind, even before I met him, was the sense that I had to do this film on 16 mm, and because there’s always budget restrictions and all that, I thought it was never going to happen, and I had no experience with film – I have only worked with digital –, so I thought if I am going to do that, I have to work with a cinematographer who has this experience.”
“And I didn’t say anything to him and as soon as we met, as he had read the script, he went, ‘You know we have to shoot on 16 mm, right?’ and I said, ‘Thank you!’ Because the idea is that the film is quite raw, and rough, so I think this roughness that comes from film, the grain, that feels more organic.”
Casting the two leadsTonia Mishiali explains how she went about choosing her actresses, and how Sokhna Diallo joined the project as a professional actress when the first actor Mishiali had in mind, a Somalian non professional, had to suddenly leave Cyprus for safety reasons.
She also give us more details on how they found the right chemistry to give a sensitive depiction of the bond between Stella and Mariama, and evokes the male characters in the film.
“Maya”: the third chapter of the trilogyOn the third instalment of her trilogy, Maya, already in the works: “So the trilogy is really about women living on the sidelines and trying to find themselves and establish themselves in the world, and enjoy their rights and be prominent and be out there and be respectful – to themselves first, and towards each other – and get respect from others. So in general, it’s really about women rebelling […]. So I started with Stella in Pause, a 50-year-old woman who was oppressed and tried to find a way out… […]”
“And then the third one is called Maya and it’s about a 30-year-old woman, so I’m going down in age, and again it’s similar – she feels different, she’s trying to fit in, etc. –, but it’s actually a genre film, it’s a fantasy film. So I am using another genre but again, it’s character-based, so it’s really about her finding herself as she inherits a house in the countryside and leaves the city to go there, and enters a patriarchal world of hunters in the woods, killing lots of animals, and finds herself attracted to this world, and meets goblins in the forest.”
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This year at the Karlovy Vary Film Festival 2026, not only was Ivan Ostrochovský selected in the main competition with Only Beautiful Things to Look At, his third fiction feature after Goat (2015) and Servants (2020, chosen as the Slovak candidate for the Oscars), but he also world-premiered, amongst the Special screenings of the Classics section, his new documentary, Igor and After, dedicated to visionary Czechoslovak cinematographer Igor Luther (who worked with Juraj Jakubisko, Volker Schlöndorff on his Palme d’or winner The Tin Drum, and Andrzej Wajda on Danton, amongst others).
He also produced the winner of the Special Mention of the Proxima Competition, Anna and Šimon Domček’s 33 Steps.
Only Beautiful Things to Look At, the suggestive title of which is all the more intriguing that the film deals with the State-funded sterilisation of Roma women in Czechoslovakia in the 1980s, ended up earning Ostrochovský the FIPRESCI Award of the Crystal Globe Competition.
This bodes well for the US remake of the film (focusing on the forced sterilisation of almost half of the Native American women which was conducted across the pond between the 1970s and the 1980s) he has already started working on, with the help of his regular producer Katarína Tomková.
FRED met with her and the prolific filmmaker on a balcony of the famous Thermal Hotel to discuss the very unique angle he chose, in his KVIFF critics’ favourite, to tackle a sordid issue through images and situations often beaming with serene harmony and human connection.
A doctor who sees sterilisation as compassionOn the choice of approaching the subject of enforced sterilisation through the eyes of a female doctor who sees sterilisation as a compassionate procedure: “I met a lot of doctors from the 80s, and the problem is that some of them really thought it was helpful to these Roma women, that having three kids instead of ten would make their lives easier. […] So the law says yes, and in context, it seems okay, but morally it’s not, and this is a problem for all times, not only the communist era.”
“There was forced sterilisation in the US, in Norway, in Australia, in Canada: it’s not limited to the eighties in Czechoslovakia, it has also happened in democratic countries. […] This is also related to the desire to have a nice, comfortable life. These doctors think that if you only have two kids, you life will be easier: you can go on vacation, have a car. [This notion] of a nice life is how you end up having sterilisation.”
Ingrid and Agata: the bond between doctor and victimOn the bond which develops between Ingrid, the doctor played by Aňa Geislerová, and Agata, the Roma nurse who tries to hide her origins, and on the complexity of both characters, Ostrochovský says that he found interesting to understand how the doctor thinks, but also wanted to find a way to make her change and see things differently, which he did by introducing this young girl who is a victim, ie. using the victim to confront the person responsible.
Casting Simona Boledovičová as AgataOn the choice of Simona Boledovičová to play Agata: “She had never played in a movie. It took a lot of time to find her, also because we wanted her to be half Roma – so many films with gypsies have been made before that [if you work from a set of stereotypes] about gypsies, you’re not interesting.”
“Also, if it [forced sterilisation] happens to a woman who is only half Roma, it’s a short way away from happening to Slovak women with social problems […] and the idea of cleaning social problems in this manner. [If you show] it as a problem which affects not only gypsies, but also poor people, our hope is that in this way, we can get under the skin of people holding stereotypes.”
Beauty hiding darkness: the film’s visual approachOn the beautiful, serene aesthetics of this superbly lit and sunny film, interspersed with oneiric scenes showing an almost magical nature as well as moments of tenderness and laughter: “The topic is already tough, so we did not want to push it further visually. We wanted to find nice places, since these people want a nice life for the gypsies, and so visually we wanted [everything to be beautiful] and then to have [darker] things hiding in these nice visuals, and then slowly amp it up.”
“Because if the film is nice visually and thus goes against the topic, maybe it is more scary than if you show an ugly socialist hospital and ugly places and bad cars. Visually, [we wanted to represent] Ingrid’s idea of a nice life – she wants a nice life for everybody, and she destroys many lives.”
Shooting across three countries and three summersKatarína Tomková on the challenges of the production of a film with such rich visuals and interesting locations: “It was a bit challenging because for example when it came to the architecture, we were looking, not for the typical communist architecture, but for a turn-of-the-century architecture which I would call Habsburg, from the end of the imperial era – buildings which of course, in the 80s, were a little bit rundown –, because these buildings do exist, but now they have been reconstructed, they have plastic windows, etc.”
“So it was tough to find this one complex place in one location. The hospital, I think, was shot in six or seven different locations spread around the Czech Republic, Slovakia and Hungary. […] But Ivan had a specific idea of the visual aspect he wanted.”
“[…] So in those terms, yes it was a little bit challenging to have the production happen across three countries, with crew from three countries and cast from three countries, and also we shot across three summers – which had a lot to do with filming [the doc] Photophobia the first summer, because the film was reacting to the situation in Ukraine.”
“But I think that we had an amazing cast and crew, and our partners and coproducers all understood and followed Ivan’s vision, so I feel like we all formed a coherent team, which eventually got us to this wonderful premiere here in Karlovy Vary.”
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Kristina Grozeva and Petar Valchanov bring their fifth feature film to the main competition of the Karlovy Vary Film Festival 2026, where they won the Crystal Globe for The Father in 2019. With Black Money for White Nights, the Bulgarian directing duo, also known for their ‘newspaper clippings’ trilogy, which started with their internationally acclaimed debut 2014 The Lesson (followed by Glory in 2016 and completed with “Triumph” in 2024), they offer the type of cruel social satire they have become known for – paired with a moral tale where money plays a major role, and a breathless race from one hurdle to the next, all the while running with scissors.
At the centre of the film is the plight of a nearly retired married couple (played by Tanya Shahova and Ivan Savov), who have become infected by a lifetime spent living in a corrupt society where deceit is part of daily life, and keep carrying outdated values inherited from the communist era into an indifferent capitalist world where they still get crushed by the old mechanisms they help perpetuate (by continuously scratching their backs, so to speak).
Building contradiction into the titleOn the strange sense of balance suggested by the title of the film, “it was very important for us to build this contradiction in the title,” says Grozeva, “because we hoped that this would reflect the mood of the whole movie. I think this contradiction contains both the tragedy and the comedy, the low and the sublime.” “The creative process behind the title was very important” and a key foundation on which to build the film, adds Valchanov, who points out that it is a distortion of the Bulgarian version of the phrase “saving money for a rainy day”, which talks about “saving money for a black day.”
On deceit and retributionOn deceit and retribution, Kristina Grozeva explains: “They live in lies all the time and they pretend that everything is OK, but this way of living has a price, somehow, and they have to pay it.” As her partner-in-crime reveals, the way they balance the diverse set of values from which they operate was inspired by many people in real life. The film, he says, “is about this generation who has made it a part of their life during the communist period and then, after it, in the democratic period.”
Victims of themselves“This system doesn’t allow you to have a dignity,” Grozeva points out, prompting Valchanov to also underline the fact that the couple at the centre of their film “are also victims of themselves.” “They mostly suffer because of their own decisions,” adds Grozeva. “We wanted to dig into the topic of corruption, but not only the corruption in the political or social sense – [we also wanted to talk about] this kind of inner corruption that puts black spots in our souls. Somehow, it felt very important to capture this moment when you corrupt your intimate world: your dreams, your marriage, even your relationship with God, everything.”
No clichés, no superficialityOn the well-roundedness and the many nuances of the characters, the directing duo insists that they “did not want to build clichés, or characters who are superficial. We wanted to build deep human beings with contradictions, and that is why we wanted to create this couple, so that they would be capable of love and tenderness, and at the same time of manipulation and deception.”
A breathless rhythmOn the relentless succession of catastrophic events depicted in the film: “It was very important for us to create this rhythm and build this sense of tension. We wanted the audience to feel their feelings.”
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Danish director Mads Mengel‘s debut feature, The Guest, was more than well received at the Karlovy Vary Film Festival 2026. This sensitive and psychologically nuanced account of an initially jolly family reunion for a newborn baby’s naming ceremony, suddenly tainted by the arrival of an unwanted guest, the mentally unstable, unpredictable mother (a part in which Trine Dyrholm delivers a captivating performance) of the young father (a distraught Simon Bennebjerg with whom the viewer cannot help empathising, as we see him unravel) was awarded the Special Jury Prize, and earned Mengel the Best Director Award. We spoke to the filmmaker – and co-writer of the film with Christian Bengtson, with whom Mengel is already working on a new project –, which says his approach of this family’s conundrum was very much informed by this quote from poet David Whyte: “To forgive is to assume a larger identity than the person who was first hurt.”
On forgiveness and mending old woundsOn going against the grain of what one would expect of a Danish film on a disrupted family reunion turning tense: “I think the film, at its core, is about forgiveness and trying to take the first steps towards being able to mend old wounds. We wanted to give the audience a feeling that it’s never too late to change some dynamics which may seem like they are forever set in stone.”
On mental illness and acceptanceOn mental illness and acceptance: “When you have a loved one who is suffering from mental illness or struggling in any way, there will always be longing in you for it to not be so, and I think accepting the situation – in Karl’s case, accepting that this is his mother, good and bad – is what can open him up to maybe forgiving some of the things that have been hard on him.”
Trine Dyrholm and the tension of an unpredictable motherOn the tension deriving from the ambiguity of the mother’s effervescent behaviour, and on Trine Dyrholm’s turn in this constantly borderline role: “We wanted to convey that experience to the audience as well, because that’s what her kids in the film have grown up with, always not knowing what’s gonna happen next. […] I think Trine captured that tension perfectly. I think she’s the greatest actor we have in Denmark, so we couldn’t believe our luck when she said yes. That was a dream come true for all of us, especially for me.”
Sixteen drafts to find the right balanceOn the film’s nuanced approach and finding that balance in the script: “I think we wrote sixteen drafts of the script. We went back and forth with the actors, each time using the actors’ notes to rewrite. We [also] shot an 18-minute pilot, over two days, to figure out who these characters were and how they talked to each other, and then went back to the writing room. It was very important to us that the viewer would have sympathy for all the characters, in the end, but also that their sympathy would switch sides, maybe from scene to scene [and that they] would understand everyone, in some way. […] We didn’t want a clear hero or a clear villain. Everyone should be to blame a little bit, because I think that is a reflection of real life, especially within the context of a family. There’s a lot of complexities and nuances. […] Nothing in the world is really black-and-white, there is always a bunch of grey nuances and I think you can have two feelings which are polar opposites rising at the same time, and both of them can be true at the same time.”
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David Boreanaz is one of the prominent actors participating in the Italian Global Series 2026, in Riccione. Our conversation was recorded to explore his reflections on acting, character development, and his perspective on one of his most iconic roles as Angel in “Buffy The Vampire Slayer“ during the festival’s second edition.
The importance of continuous learning in actingBoreanaz emphasizes the significance of ongoing education and self-reflection in his career. He reflects on the past year, noting that it’s essential to be patient with oneself and understand that the work invested today will bear fruit over time. His approach involves constantly nurturing his craft, seeking growth through repetition and new avenues, which prevent his from feeling trapped in a single role or character.
Seizing opportunities and the evolution of long-term charactersDuring the interview, Boreanaz discusses the importance of seizing opportunities, emphasizing that preparation is crucial. He explains that readiness arises from diligent work, allowing actors to take advantage of chances when they arise. He also touches on his portrayal of Angel in “Buffy the Vampire Slayer“, indicating that playing a long-term character isn’t a trap but a chance to explore new facets and grow. About the worldwide success of the TV series, he says: “All characters were a sort of superheroes for the audience”.
The allure of storytelling and influences from renowned filmmakersBoreanaz expresses admiration for filmmakers like Chloe Zhao, noting her understanding of storytelling through renewal and rebirth, resonating with Joseph Campbell’s ideas. He also discusses his admiration for cinematic imagery, citing his experience watching “Hamnet“ and being captivated by the symbolism intertwined within the film’s scenes. He appreciates storytelling that dives into deep, metaphysical themes, such as transformation and connection to Mother Earth, reflecting the festival’s focus on meaningful and innovative narratives.
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Lithuanian filmmaker Arnas Balčiūnas arrives at the Karlovy Vary International Film Festival 2026 with Past the Hill of Napoleon’s Hat, one of the ten short films showcased in Future Frames, the European Film Promotion initiative that introduces Europe’s most promising young directors to the international film industry through screenings, masterclasses and networking opportunities. Rather than offering a conventional family drama, Balčiūnas builds an intimate and restrained portrait of emotional distance, where silence speaks louder than confrontation.
Set on a single early spring day, the short film follows Martynas as he picks up his father from a psychiatric hospital and drives him to visit his grandparents in rural Lithuania. Along the journey, familiar landscapes awaken memories that neither father nor son can fully articulate, exposing wounds that have remained buried across generations.
A story rooted in personal experienceThe emotional core of the film originated in a conversation with the director’s own father, who once reflected on his difficult relationship with his abusive parent and the discomfort of seeing his father’s physical features reflected in himself. That confession became the foundation for a story about inherited trauma and the invisible threads connecting different generations. “There’s a lineage here of what I would see as generational trauma.” Rather than recreating his own family’s history, Balčiūnas transformed those emotions into fiction, exploring how unresolved pain can quietly shape relationships long after the original events have passed.
Choosing empathy over judgmentOne of the film’s most striking qualities is its refusal to divide its characters into victims and villains. The father is fragile, emotionally distant and difficult to understand, yet the film consistently resists judging him. For Balčiūnas, the real tragedy lies elsewhere. “The saddest thing is the inability to talk about these things.” Instead of explaining every detail of the family’s past, he focuses on the present moment, observing people who continue trying, however imperfectly, to repair broken relationships. That choice allows empathy to emerge naturally, without relying on melodrama or easy resolutions.
When the landscape carries historyThe Lithuanian countryside becomes an extension of the characters’ emotional state. The familiar post-Soviet houses and quiet rural spaces are not simply realistic settings, but subtle reminders that personal trauma is often inseparable from broader historical experiences. Balčiūnas explains that the emotional patterns portrayed in the film can be found in many Lithuanian families and across the post-Soviet region, where political history has left deep marks on private lives. Rather than making this connection explicit, he allows the environment itself to suggest the weight of a collective past.
Finding a voice in contemporary European cinemaBeing part of Future Frames has also allowed the young director to encounter fellow emerging filmmakers at a crucial stage of their careers. He describes the programme less as an immediate professional breakthrough than as the beginning of relationships that may shape future collaborations while offering a broader perspective beyond the national context of film school. Reflecting on today’s film landscape, Balčiūnas acknowledges that young directors face increasing pressure to define a recognisable artistic identity early in their careers. With an overwhelming number of films constantly available, he believes the greatest challenge is not finding a visual style but discovering themes that genuinely belong to one’s own life and cultural background, rather than following existing trends.
Why short films remain the perfect formAlthough he recently premiered another short film at the Cannes Film Festival and is already developing his next project, Balčiūnas continues to embrace the short format as the space where his storytelling feels most natural. “I also like the impressionistic nature of short films. It’s something that suits my storytelling style.” He sees short films as works that can be almost entirely imagined before production begins, allowing filmmakers to refine every choice while preserving ambiguity. Rather than offering definitive answers, they invite audiences to continue thinking after the final frame, completing the emotional journey themselves.
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For Hae-Sup Sin, Half-moon is not simply a story about reunion. It is about everything that remains unresolved once that reunion finally happens. Presented at the Karlovy Vary International Film Festival 2026 within Future Frames, the European Film Promotion initiative showcasing emerging European filmmakers, the short film follows a Swiss adoptive mother and her son as they travel to South Korea to meet his biological mother for the first time. Set almost entirely within a traditional Korean restaurant, Half-moon explores identity, belonging, and motherhood through restrained performances, quiet observation, and the emotions that emerge when words are no longer enough.
From a documentary to an original storyThe film was inspired by a brief Swiss television documentary about a young Korean girl adopted in Switzerland whose biological mother unexpectedly managed to find her. What fascinated Sin was not the reunion itself, but the adoptive mother’s emotional position. “Usually adoptees search for their biological parents,” he explains. “In this case, the biological mother found the child. I became curious about how the Swiss mother would feel, understanding that another woman could also say, ‘She is my daughter.'” Rather than adapting that true story, Sin used it as the starting point for an original screenplay exploring the emotional space shared by two women connected by the same child.
One room, two mothersAlmost the entire film unfolds inside a traditional Korean restaurant, a deliberate choice that carries both dramatic and symbolic meaning. In Korean culture, these restaurants are often where couples introduce their parents before marriage. Sin found it an appropriate setting for two mothers meeting for the first time instead. “I thought it was quite ironic,” he says. “The two mothers face each other there for the first time.” The confined setting also reflects his interest in chamber pieces, in which emotional tension builds through small gestures rather than dramatic action. Food itself becomes another language. “Eating behaviour tells you so much about people and culture,” he explains. “That was another reason I chose the restaurant.”
When silence becomes dialogueLanguage barriers shape every interaction in Half-moon. Characters speak different languages, rely on translation and frequently struggle to express what they truly feel. Rather than treating this as an obstacle, Sin embraced silence as one of the film’s central narrative tools. “Silence is one of the most universal languages,” he says. Throughout the film, glances, pauses, and body language communicate emotions that dialogue cannot fully translate. The director also credits his cast for bringing those moments to life. “I relied on the actresses’ instincts,” he explains. “The screenplay was there, but how we interpreted it remained completely open.”
Learning from the other side of the cameraSin also appears in Half-moon as Joel, marking his first experience as an actor. The decision presented unexpected challenges. Unable to judge his own performance objectively, he relied heavily on his cinematographer and producer, both of whom watched the monitor throughout filming and offered constant feedback. The experience has already influenced the way he approaches directing. “Before, I was very controlling,” he admits. “Being in front of the camera made me realise that sometimes it’s better to give simple directions and trust what happens inside the actors.” It is a lesson he intends to carry into future projects.
The meaning behind the titleThe original Korean title, Ban Dal, comes from a children’s song heard after the end credits, where a half moon becomes a boat travelling westward. Only later did Sin realise how deeply the title reflected the film itself. For him, the half moon represents Joel’s incomplete search for identity, as well as the acceptance that motherhood does not have to belong to one person alone.
Looking aheadAfter Half-moon, Hae-Sup Sin is developing his first feature film, Some Korean Summer, a romance between a young Swiss woman and a Korean man set in the rural South Korean countryside. The project is currently in development with a Swiss production company. Far from feeling intimidated by the transition to feature filmmaking, the director says his greatest concern is securing financing. “I’m more excited than scared,” he says. “I love the process of making films, working with actors and seeing something you’ve written come to life.”
His experience at Future Frames has only reinforced that enthusiasm. Beyond presenting his work to international audiences, the programme allowed him to build lasting relationships with fellow emerging filmmakers from across Europe. “We immediately became really good friends,” he says. “Seeing so many different perspectives was inspiring, but leaving with new friends is probably what I’ll remember most.”
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Selected for Future Frames at the Karlovy Vary International Film Festival 2026, Júlia Coldwell Serra brings Nobody Barks, a darkly comic short that explores guilt, family ties and emotional avoidance through an increasingly absurd premise. Presented as her final master’s project, the film follows Candela, a middle-aged woman who accidentally runs over her young nephew’s dog. Unable to tell him the truth, she invents an extraordinary story: the dog has left on a pilgrimage to a sacred tree, and together they set out to find it.
The premise is both humorous and unsettling, allowing the director to examine why people lie, especially when deception is motivated by love rather than selfishness. “There is something very human about lying because it is so closely connected to guilt,” Coldwell Serra explains. “We usually lie because we have good intentions and we don’t want other people to get hurt.” As Candela’s invention grows beyond her control, the film gradually shifts between comedy, melancholy and emotional tension, refusing to settle into a single emotional register.
Finding freedom through absurdityRather than pursuing strict realism, Coldwell Serra embraces absurdity to reach emotional truth. For her, humour is not simply entertainment but a narrative tool that expands the possibilities of storytelling. A non-naturalistic approach allows her to establish the film’s own internal rules, creating space to address grief, guilt and responsibility without becoming didactic. “I wanted the tone to oscillate,” she says. “You don’t really know whether you should laugh, worry or cry, because life is like that. Tragedies and beautiful things don’t arrive in a convenient order.” The comedy of Nobody Barks rarely comes from punchlines. Instead, it emerges from discomfort, awkwardness and the increasingly impossible situation Candela creates for herself. Coldwell Serra also admits that humour reflects her own way of dealing with difficult moments. “Humour has always been a coping mechanism for me,” she says. “It felt like the most honest way to tell this story.”
Rooted in a familiar landscapeThe filmmaker deliberately chose to set the story in the region where she grew up. Beginning with a place she knew intimately gave her a solid emotional foundation before she allowed herself to move into more imaginative territory. She believes that authenticity comes from embracing the local rather than trying to make stories universally recognisable from the outset. The international journey of Nobody Barks has only reinforced that conviction. “The more local and the more specific you become,” she reflects, “the more universal the film can be.” Instead of smoothing away cultural details, she trusted that honesty would resonate beyond geographical boundaries.
Writing Candela for Laia CabreraThe role of Candela was written specifically for Laia Cabrera, whom Coldwell Serra had met while working on another production. Even before the screenplay was completed, she knew she wanted the actress to embody the character. What fascinated her was not only Cabrera’s talent, but the quiet mystery of her screen presence. “There is something about her face that makes you start asking questions beyond what is happening in the film,” the director explains. That ambiguity proved essential for a protagonist whose motivations remain deliberately difficult to define. Candela’s guilt, tenderness and desperation coexist throughout the film without ever being fully explained, giving the audience space to interpret her actions.
Trusting instinct above everythingLooking back on the journey of Nobody Barks, Coldwell Serra admits she never expected the short to travel so widely after waiting nearly a year for its first premiere. Its success ultimately confirmed something she had suspected while making it: originality comes from trusting instinct rather than trying to anticipate expectations. Many readers of the screenplay struggled to imagine the unusual tone she had in mind, but she chose to follow her own vision rather than make it more conventional. “I learned not to be afraid of taking risks,” she says. “It was the most authentic film I could make.” That lesson is one she hopes to carry into her future work.
Growing through Future FramesFor Coldwell Serra, being selected for Future Frames has been both an educational and deeply personal experience. Sharing the programme with nine emerging filmmakers from across Europe, attending masterclasses and exchanging ideas about filmmaking has strengthened her optimism about the future of European cinema.”We really bonded as a group,” she says. “It’s inspiring to meet so many people who are trying to make films with the same passion. It gives me hope for the future of cinema.”
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Selected for Future Frames at the Karlovy Vary International Film Festival 2026, André Vaara presents Sister of Mine, a subtle and emotionally restrained short film that explores identity through the eyes of a ten-year-old boy. Rather than engaging in explicit dialogue about gender and family dynamics, the film relies on gestures, sound, and physical sensations to immerse the audience in the child’s emotional world.
“I wanted to ask what happens when your sibling has access to expressions that you don’t,” Vaara explains. “Is there room to explore another identity as a child?”The story follows a young boy who admires his older sister and struggles with the expectations surrounding his own appearance when the siblings visit a barber. What seems like an ordinary family situation gradually reveals deeper questions about identity, comparison and belonging.
Siblings as MirrorsThe director traces the film’s origins to his fascination with sibling relationships. According to Vaara, brothers and sisters constantly compare themselves with one another, whether over attention, privileges or affection. Gender became the natural extension of that dynamic because, unlike other childhood inequalities, it cannot simply be negotiated. A single visual image became the emotional seed of the project: one sibling secretly cutting the other’s hair during the night. Rather than explaining the gesture, Vaara chose to investigate the emotions that could lead to such an intimate act.
Letting Sound Tell the StoryDialogue is deliberately sparse throughout Sister of Mine. For Vaara, silence reflects the family’s inability to communicate openly, while sound design becomes the protagonist’s inner voice. “I wanted the audience to stay with the boy all the time,” he says. “The sound design was meant to capture what happens inside him.” Physical sensations also play an essential role. Hair, touch and proximity become narrative tools, allowing viewers to experience the child’s emotions almost viscerally. Vaara believes the short film format offers the ideal space for this kind of sensory storytelling, where atmosphere often speaks louder than plot.
Directing Young PerformersWorking with child actors required extensive preparation before filming. Lars and Alma, who play the siblings, are naturally energetic and outgoing, qualities that contrast with the film’s restrained emotional register. Instead of focusing on dialogue, Vaara developed exercises that encouraged stillness and introspection. Rehearsals often involved quietly acting through scenes accompanied by calm music, helping the performers settle into the family’s emotional rhythm. The process, he says, was ultimately about understanding what each child needed to inhabit the relationship truthfully.
Looking AheadFollowing Sister of Mine, Vaara is developing his first feature film with writer Erika Malmgren and producers Annika Hellström and Erik Andersson. The project centres on two young boys whose intense friendship gradually becomes destructive after adults decide to separate them by sending them to different schools. Moving from short films to features presents new challenges. “A feature needs much more than one feeling,” Vaara reflects. “It’s about structure, momentum, and earning the industry’s trust to make it happen.”
Despite the financial difficulties facing independent filmmaking, he remains committed to telling the stories that matter most to him. His experience at Future Frames has reinforced that conviction. Meeting nine emerging filmmakers from across Europe offered not only insight into different national film industries but also renewed confidence in the value of personal storytelling.”It gave me energy to keep believing in my own voice,” he says.
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At the Future Frames – Generation NEXT of European Cinema 2026, organized by European Film Promotion and the 60th edition of the Karlovy Vary International Film Festival, Croatian director Jozo Schmuch presents Shallow Ground. Shot on 16mm, the film imagines a son who vanished during Croatia’s war of independence returning to his elderly mother three decades later, unaged and unmarked, a reunion whose warmth is shadowed by disbelief. Schmuch’s graduation film, it draws directly on the disappearance of his own uncle.
A closure that never cameSchmuch describes Shallow Ground as “a magical realism drama where there is not a lot of magic, but it’s very present,” built around a grief that was never allowed to resolve. “It’s exploring the theme of when somebody is missing, either in the war or their body was never found, can you ever actually grieve for them?” Asked about reviews describing the film as an honest portrait of grief, Schmuch agreed readily: “It’s a film about grief mostly, but then also it’s a film about love, and about how mothers and sons, in the end, love each other.”
An uncle he never metThe film began, technically, as a graduation project, but its real origin lies closer to home. “My uncle, my mother’s cousin, he went missing during the war. They lived together, he was like a brother to her. He went missing during the fall of Vukovar and his body was never found.” Growing up, Schmuch inherited the loss secondhand. “I spent my childhood hearing about him and missing ever meeting him, having this sort of nostalgic feeling for somebody I never met.” He made the film, he says, for every family living the same unresolved story, in Croatia and elsewhere: “I wanted to make a film for people who haven’t found their loved ones and who are grieving without any concrete proof of their death.
Refusing to take sidesIt mattered to Schmuch that the film resist being pulled into the nationalistic register that often surrounds war stories. “It was extremely important for me not to let this movie take a nationalistic dimension, because often when movies deal with the war, they can be used for nationalistic and right-wing purposes, and this is something that I’m very against.” The idea took shape while he was editing an earlier documentary short, one that takes a critical look at how the war is taught in schools. “When you hear about the war in these big and large numbers, they are just statistics, the weapons of propaganda and of indoctrination. But when you take it to the personal level, to two people that it happened to, it becomes something that’s much larger than that.” His hope for the film has nothing to do with assigning blame: “The most important part to take out of this film is not hatred for the warring sides of this Croatian independence war, Serbians and Croatians, but rather to see that a thing like that should have never happened and it should never happen again, in any part of the world.”
The privilege of European cinemaBefore studying film directing, Schmuch trained in medicine. “Being a doctor is so much more concrete. But I think the arts, they teach us why life is worth living, and they show us the complexity of human emotions, the messy thing about being human.” Asked about the role of European cinema today, he points to a shared culture under pressure from shrinking public funding. “We are constantly bombarded with funding cuts, investing more into defensive budgets, the European Union turning toward defense but defunding creative media. What makes us both Europeans and, say, Germans or Croatians, it’s our culture. It’s the most basic thing about us, and we must fight by every possible means to stop defunding arts.”
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At the Future Frames – Generation NEXT of European Cinema 2026, organized by European Film Promotion and the 60th edition of the Karlovy Vary International Film Festival, Finnish director Helmi Donner presents The Lightning Rod (Matalappa). Her graduation film from film school in Finland, it premiered a year ago in La Cinef, the Cannes Film Festival’s student film section, an experience she still describes as both thrilling and frightening, not least because the film is deeply personal to her.
A house of silenceDonner describes The Lightning Rod as “a poetic horror film,” not built on jump scares or splatter but on the story of a young woman fleeing a toxic relationship, who takes shelter in her grandmother’s house, only to find the older woman unable to meet her in this situation. “They have this tension between them because I think they both know what each other are going through, or what they experienced with this domestic violence, but they are not able to talk about it. I really wanted to capture the silence and how to maybe break the silence in some way.”
Horror as a way to feel it in the bodyGenre, for Donner, was never a distancing device but a precision tool. “I was really interested to play with the genre elements, but to try to make it as precise the experience of the manipulation and this pushing and pulling between people and the pressure. I’m really interested in finding some kind of cinematic language that would be felt in the body, that is not maybe so explanatory.” Confined to a single house over one night, the film leans on a familiar horror device, the house itself seeming to change, to signal that something is shifting beneath the surface: “It maybe comes with some kind of elevation or stylization… so that you can see that something special is happening.”
Sound as a second scriptMusic and sound design carry much of the film’s tension. Donner worked closely with her sound designer and composer, Peterson, to fold the score directly into the sound design. “We had this idea of meshing these things together so that the score would be deep in the sound design.
The privilege of European cinemaAsked about the role of European cinema today, Donner points to the same sense of belonging she found among this year’s Future Frames group. “I love being a European director, or I would love to be one, because I think there is something really special happening in Europe. I think there is a possibility for a real diversity of voices and styles and experiments. I felt like home in this group of directors.” At a moment when other film industries are losing their freedom, she sees a responsibility in that community: “I think it’s so important to try to resist the very forces that are on the move. I think films are so powerful in that.”
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At the Future Frames – Generation NEXT of European Cinema 2026, organized by European Film Promotion and the 60th edition of the Karlovy Vary International Film Festival, Ollie Launspach presents Kiss Kiss Bang Bang, his graduation film from the Netherlands Film Academy, previously selected for the shorts competition at IDFA, the International Documentary Film Festival Amsterdam. What began as a portrait of his partner Sterre and the effect of his gender transition on her became, over the course of making the film, something closer to a self-portrait.
Starting a conversation with a cameraThe film grew out of a conversation Launspach and Sterre had never quite managed to have. “Sterre and I hadn’t really talked about the influence of my transition on her for over three years, and for some reason we weren’t able to have that conversation. So I decided to use a camera as a way to start that conversation.” It worked, if in an unconventional way: “When you put a camera in front of your girlfriend, she will talk.” They started recording before either of them thought it would become a film.
The camera turns aroundLaunspach knew, in the back of his mind, that documentaries about the people closest to a filmmaker tend to end up being about the filmmaker too. “I knew the kind of cliché of a filmmaker making something personal and eventually, around the midpoint, needing to turn the camera around, because there’s always something inside of the filmmaker that is interesting and kind of turns the story around.” Still, the shift caught him off guard. After many conversations with Sterre that seemed to go nowhere, he feared the film was failing, until he reviewed the footage. “I watched all the interview material and I came to understand that something was happening with me during these conversations, and that was something I needed to explore more.”
A personal story, universally feltLaunspach admits he resisted the idea of making a film about himself. “I was at first very opposed to the idea of making something about myself. It can be very annoying to watch a filmmaker talk about himself a lot. So I was scared to be an annoying filmmaker.” What he found, instead, was something more widely shared than he expected: “I heard myself projecting a lot of negative thoughts about myself onto Sterre.” A feeling, he says, that reaches far beyond his own experience: “Having those negative thoughts about yourself is something not only trans people have, that’s something many, many people have, but it’s not much talked about.”
The privilege of European cinemaAsked what it means to him to be a European director, Launspach, still getting used to the title itself, points to the room European cinema leaves for personal, uncommercial work. “I feel like there’s a lot of space to experiment and make really author-driven films, which I think is the most important thing. I would love to make films that aren’t made for commercial purposes but are really truly about real, authentic people and stories, and I feel like Europe is the place to do that.”
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The film “Breaking Walls” offers a poignant portrayal of fatherhood amid political and cultural shifts in Spain and Europe in the late 1980s. Set in Bilbao and Berlin, the movie traces the journey of a group of families navigating unemployment and social transformation, culminating in Berlin’s historic wall fall.
Symbolism and Historical ContextThe English title, “Breaking Walls“, encapsulates the film’s core metaphor — the walls between generations and nations. Director Borja Cobeaga explains that the narrative parallels the physical division of Berlin with the emotional and cultural barriers faced by fathers and their daughters as they embark on a road trip to Berlin for a gymnastics competition. The story is rooted in the socio-economic decline of Bilbao’s industrial sector, where factory closures in the ‘80s altered traditional family roles. As fathers confront unemployment, and in some cases divorce or middle-age crises, the film captures their struggle to adapt to new realities, including the rise of women as primary breadwinners.
A Journey of Reinvented Fatherhood“Breaking Walls” delves into the redefinition of masculinity and fatherhood during a period of societal upheaval. It portrays a metaphorical journey that reflects the broader political transition from Spain’s post-Franco era to a more integrated Europe, only a few years after Spain joined the EU. The film combines humour and sentimentality, avoiding heavy jokes in favour of a soft, emotional comedy that emphasises vulnerability and change.
European Identity and Personal NarrativesWhile set against a European backdrop, the story subtly critiques the nascent sense of European unity, highlighting Spain’s slow integration into the continent. The director comments on his personal and collective disillusionment with nationalism, positioning Europe as both a historical and contemporary space of transition.
Outstanding Performances and Production ChallengesThe cast features a mix of seasoned and emerging actors, with real-life fathers playing their on-screen counterparts to bring authenticity to the portrayal of familial bonds. Shooting involved managing a diverse ensemble, including young children, which presented unique logistical challenges but enriched the film’s naturalistic tone.
“Breaking Walls“opened at the 12th Edition of the Edinburgh Spanish Film Festival, promising viewers a heartfelt reflection on change, identity, and the enduring spirit of family.
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With his debut feature, “The president’s Cake“, Iraqi writer/director Hasan Hadi won the Camera d’Or and the Director’s fortnight’s audience award in Cannes.
Now his film is traveling around the world, landing the Zurich film festival’s program before heading south, to the Alice nella città’s competition in Rome, Italy.
The film is a fable like realistic tale about a nine year old girl journey to gather ingredients for the mandatory cake to celebrate President Saddam Hussein’s birthday during the long UN sanctions period of his regime in the early 1990s.
A Personal and Political Story of Childhood Under Saddam Hussein’s regimeThe President’s Cake blends realism with fable, crafted from the filmmaker’s personal childhood experiences during Saddam Hussein’s regime. Set in a majestic marshland, the film recounts the paradox of having to craft a birthday cake in a period of estreme poverty and government restrictions that could turn ordinary desires into risky acts of defiance.
Balancing Dark Humor and Magical RealismBefore his film’s premiere at the Zurich Film Festival, the director invited the audience to feel free to laugh and don’t be shy to be entertained as the film, intentionally adopts a tone of dark comedy and magical realism, inspired by Italian neorealism classics like “Bicycle Thieves“. This approach allows audiences to engage with a serious story through accessible storytelling, emphasizing the universality of childhood innocence amidst political turmoil. The film’s visual language, particularly the majestic marsh landscapes, contributes to this surreal yet authentic ambiance.
Authentic Performances with Non-ActorsAnybody who has been in the film business long enough knows the rules, when directing a film, the most difficult thing is to work with children and animals. Considering that little Lamia is carrying her rooster friend Hindi all the time with her, along her journey, Hasan Hadi chose to face adversities with his debut feature. “I had a mentor who said, there are five forbiddens, especially in your 1st feature: working with non-actors, children, animals, crowds and on water. I have all of them in this feature.” confirms the direct.
Working with non-professional actors and children posed significant challenges, but ultimately enriched the film’s authenticity. The cast’s natural performances, achieved through workshops focused on life experiences rather than acting techniques, brought genuine depth to the characters. The director emphasized flexibility and understanding, creating a compelling portrayal of resilience and human dignity.
Global Resonance and Future ProspectsHaving won the Camera d’Or at Cannes and received international recognition, “The President’s Cake” continues its festival journey. The film’s universal themes like poverty, dignity, childhood love, resonate beyond Iraq’s borders. With producers like Chris Columbus and Marielle Heller supporting the project, the film underscores the rising importance of independent cinema in addressing global issues through compelling storytelling.
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In this episode, we talk with Maxime Lechaud, director of the Festival International du Film Grolandais de Toulouse, known as FIFIGROT, which recently celebrated its 14th edition as a vibrant hub for provocative and socially conscious cinema. Originating in northern France, the festival relocated to Toulouse, emphasizing its commitment to showcasing both contemporary and overlooked older films.
Diverse Film Selection and ThemesThe FIFIGROT programme follows a dual approach, premiering recent works that often encounter distribution hurdles in France while also revisiting historical and controversial films from past decades. This blend highlights the festival’s dedication to fostering dialogue through cinema, with a particular focus on artists and themes that challenge societal norms. A notable highlight was the screening of films by legendary directors such as Peter Watkins, Julio Questi, and Bigas Luna, many of which are rare or rarely available in standard cinema settings.
Engaging Cinema Beyond the ScreenBeyond film screenings, Fifigrot is renowned for its dynamic festival village, creating an immersive cultural experience that combines literature, graphic arts, and live performances. This central hub fosters community engagement, allowing attendees to connect through conversations, exhibitions, and music, embodying the festival’s spirit of creative exchange.
Reflecting on this year’s programme, Lachaud notes an undercurrent of melancholy, shaped by global events. Films like Nadav Lapid’s “Yes” uniquely intertwine humor and tragedy, offering audiences profound reflections on current realities.
The festival’s impact extends beyond Toulouse, reintroducing forgotten films to the wider French market, supporting new filmmakers, and cultivating a passionate cinephile community. As it continues to evolve, the festival remains a vital platform for innovative, socially aware cinema celebrated by both veterans and newcomers alike.
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“Whisperings of the Moon”: A Dance of Passion and Constraint with Lai YuqingIn “Whisperings of the Moon“, director Lai Yuqing crafts a compelling narrative centered on a queer romance set against the vibrant yet oppressive backdrop of Phnom Penh. During the 2025 Busan International Film Festival, we spoke with Lai Yuqing about her inspiration, visual approach, and the journey of expanding her short film into a feature-length production.
Finding Inspiration in Phnom Penh’s ContrastsLai Yuqing revealed that her first visit to Phnom Penh made a deep impression on her. “When I first visited Phnom Penh, I experienced conflicting feelings because of the mixture of cultures—French, Chinese, Khmer, and English. The city gave me a sense of tragedy, which inspired me to set the story here.”
The blend of diverse cultures and the city’s ambitions for development, contrasted with traditional elements, sparked a narrative rich in passion and potential conflict. You can learn more about Phnom Penh’s cultural landscape here.
Directing Cinematography: An Intuitive ApproachThe film’s visual style, characterized by rhythm and fluidity akin to dance, reflects Lai Yuqing’s instinctive directing. “I create storyboards and plan lighting before shooting, but during filming, I rely heavily on the actors’ performances.”
She emphasizes the importance of adapting to actors’ spontaneity and following her intuition to capture authentic moments. Lai Yuqing immerses herself in the characters’ emotions to craft a deeply emotive visual experience.
The Symbiotic Relationship Between Filmmaker, Actor, and MusicianLai Yuqing’s diverse background as a filmmaker, actor, and musician profoundly shapes her directing style. “That’s why my actresses trust me—they know I understand acting and how to unlock their emotional depth.”
This multifaceted experience allows her to connect authentically with performers, fostering trust and enabling genuine portrayals. She adds that the story’s emotional core involved the actress deeply, allowing for empathy and connection.
Expanding “Love is a Book”: From Fragment to Feature“Love is a Book” served as the foundation for “Whisperings of the Moon”. Lai Yuqing explained her creative process: “To develop it into a feature, I wanted to expand the story, deepen the background, and develop the characters further.”
While maintaining a non-linear narrative style, her goal was to craft a broader, more emotionally resonant experience—blending flashbacks and present-day scenes to enrich the storytelling.
A Global Perspective: Embracing Cultural DiversityHaving studied and worked across multiple countries, Lai Yuqing brings a global perspective to her storytelling. “Living in different cities taught me that different cultures and perspectives need to be acknowledged and respected.”
Her empathy enables her to portray diverse cultures and experiences authentically, emphasizing that emotions are universal and transcend cultural boundaries.
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Exploring the Teochew Diaspora: An Interview with Jianhang Chen and Lin Ziyang on “The River That Holds Our Hands”At the 30th Busan International Film Festival, I had the opportunity to speak with Jianhang Chen, the film’s director, and Lin Ziyang, the producer, about their film “The River That Holds Our Hands.” This captivating documentary-fiction hybrid beautifully explores the experiences of the Teochew diaspora, blending cultural storytelling with sensory artistry. In this interview, they discuss their creative process, the importance of cultural identity, and how sensory elements play a vital role in storytelling.
Documentary Roots and the Hybrid Filmmaking ApproachJianhang Chen shared that his journey to create this film began with a documentary perspective, having filmed over five years in this format. This experience naturally evolved into a hybrid filmmaking approach. “I love how people talk about their stories in their homes,” Chen explained. “Documentary allows us to capture these authentic moments and bring them onto the big screen for the audience.” He emphasized the significance of capturing natural interactions, citing a scene shot on the streets of Saigon where a street vendor was unaware of being filmed, resulting in a genuine, unscripted shot.
The Power of Image and Sound in StorytellingBoth Chen and Ziyang highlight the importance of sensory elements—especially sound and visual imagery—in conveying memories and dreams. The Eye Catcher Global jury praised the film for its delicate attention to sound design. Chen elaborated that sound was deliberately used to evoke a sense of nostalgia and historical rhythm. “We aimed to blend sounds that ancestors might have heard—birds, water, and everyday life—mixed with modern elements to create an immersive, dreamlike atmosphere.” This acoustic layering enhances the emotional resonance of the film.
Touch as a Connection to the PastThe theme of touch is central to the film and its title, symbolizing a bridge between past and present. Chen described how tactile experiences, such as the sound of touching an old photograph, evoke memories and connect the characters to their history. An example is the scene where the main character touches an old lady’s hand as she sleeps; this moment triggers a dream of her mother and a subsequent scene in Vietnam, forging a deep link between different generations and histories. Lin Ziyang also emphasized the significance of these tactile, sensory connections in illustrating personal history.
Support and the Creative JourneyBoth filmmakers expressed gratitude for support from organizations like the Maritime Guangdong Program and the Asian Cinema Fund (ACF). Chen explained that the Maritime Guangdong funding was crucial during the early stages when the project was just a short film. “Over these two and a half years, we received invaluable support from multiple organizations, which kept us motivated and helped shape the final film.” The ACF played an essential role in the later stages of production.
Revisiting the Teochew DiasporaWhen asked about the central themes in exploring the Teochew diaspora, Chen emphasized identity and the desire to share these stories globally. “I believe the Teochew community has many rich stories to tell. We’re proud of our culture and heritage, and I wanted to share that pride with the world—especially in Asia.” He aims to use film as a universal language to connect the ancient stories of the Teochew people with a broader, international audience.
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Claudia Cardinale, one of the most beloved and influential figures in Italian and European cinema, has died at 87 in Nemours, France. The news was confirmed to AFP by her agent Laurent Savry. With her passing, world cinema loses a luminous star, admired for her beauty, talent and independence across six decades of work.
From Tunisian roots to Venice discoveryBorn in Tunis in 1938 to Sicilian parents, Cardinale never aspired to become an actress. Her destiny changed in 1957, when she won the contest “The Most Beautiful Italian Girl in Tunisia” and was invited to the Venice Film Festival. Soon after, producer Franco Cristaldi signed her, launching a career that quickly reached international acclaim.
Her early roles included Mario Monicelli’s Big Deal on Madonna Street (1958), Pietro Germi’s The Facts of Murder (1959), Luchino Visconti’s Rocco and His Brothers (1960), and Valerio Zurlini’s Girl with a Suitcase (1961), one of her most poignant performances.
The 1960s: Fellini, Visconti, LeoneThe 1960s were her golden decade. In 1963, Cardinale shot Federico Fellini’s 8½, playing Marcello Mastroianni’s muse, and Luchino Visconti’s The Leopard, opposite Burt Lancaster and Alain Delon.
As she later wrote in her autobiography Mes Étoiles: “Visconti taught me to cultivate mystery, without which there can be no true beauty.”
She won the Silver Ribbon for Bebo’s Girl (1964) by Luigi Comencini and starred in Mauro Bolognini’s Senilità (1962). But it was Sergio Leone’s Once Upon a Time in the West (1968) that immortalized her as Jill McBain, a woman who stands strong in a male-dominated universe.
Hollywood and beyondCardinale also made her mark in Hollywood with Blake Edwards’s The Pink Panther (1963), and worked alongside Charles Bronson, Henry Fonda, and David Niven.
In the 1970s she starred in Franco Zeffirelli’s Jesus of Nazareth (1977), Alberto Sordi’s comedy A Girl in Australia (1971), and Damiano Damiani’s mafia drama The Day of the Owl (1968). In France, she shared the screen with Brigitte Bardot in Christian-Jaque’s Les Pétroleuses (1971).
Her career revived in the 1980s with Werner Herzog ’s Fitzcarraldo (1982), followed by collaborations with Marco Bellocchio, Liliana Cavani, and her partner Pasquale Squitieri, who directed her in Claretta (1984).
A free spirit on and off screenCardinale was more than an actress: she was a woman of resilience and independence. “I was never a submissive woman. I always chose for myself, even when it didn’t seem so,” she once declared.
Since 2000 she had been a UNESCO Goodwill Ambassador, dedicated to women’s rights and cultural promotion. For her, cinema was not just art, but also a tool for freedom.
A timeless legacyIn 2002 she received the Berlinale’s Golden Bear for Lifetime Achievement, and in 2023 MoMA in New York honored her with a 23-film retrospective. Reflecting on her career, she said: “I’ve lived more than 150 lives – prostitute, saint, romantic, every kind of woman – and that is marvellous.”
With her passing, the world loses one of its greatest stars. But Claudia Cardinale’s husky voice, proud gaze, and unforgettable performances will keep shining on screen, forever Italy’s “dream girl.”
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“Honey Don’t”, the second chapter of a B-movie lesbian trilogy directed by Ethan Coen (without his brother Joel) and co-written with the screenwriter and the director’s wife, Tricia Cooke, is a captivating and hilarious homage to 1940s Dashiell Hammett–style detective stories, with Margaret Qualley in the role of an anti–femme fatale.
Coming to Italian movie theaters with Universal Pictures starting September 18th, the film premiered, out of competition, at the 78th Cannes Film Festival.
Blending a classic noir with the lesbian pulp novelEthan Coen and Tricia Cooke’s second collaboration on “Honey Don’t“, after “Drive Away Dolls“, blends a private-eye story with a murder mystery wrapped in seduction, lies, and stylized action. Drawing inspiration from classic noir films, “Honey Don’t” merges the hard-boiled storytelling of Dashiell Hammett, Raymond Chandler, and James M. Cain with the grit of lesbian pulp novels.
“Honey Don’t” reimagines the classic noir detective story by centering a female lead who is a lesbian private investigator. During the interview set during Cannes Film Festival, the filmmakers declared that they aimed to play with the butch-femme dynamic by switching them so to avoid the usual femme fatale trope. The result is a story that challenges gender norms and genre conventions and is part of a broader effort to craft honest, genre-based movies with a fresh perspective on sexual identity and character dynamics.
Working togetherHow do you blend your voices together? we asked the duo in order to understand more about their collaboration on the film’s development process. Cooke and Coen admit that they rely on their ongoing dialogue, blending ideas, and shaping characters that feel authentic yet exaggerated enough to serve the satire. The characters, especially the lesbian protagonists, played by Margaret Qualley and Aubrey Plaza, were designed to explore complex themes such as trauma and identity. The filmmakers noted that their characters act as twin sisters, one representing the “good” and the other the “evil”, highlighting how trauma influences behavior and self-perception.
When satire ends and reality beginIn “Honey Don’t“, Ethan Coen and Tricia Cooke introduce us to characters that feel as extreme as they feel real. When does satire end and reality begin? “These characters are kind of outrageous – confirms Coen – but you look at reality and and they’re not so outrageous anymore, certainly these days in our country, reality is odder than fiction“.
Coen and Cooke assure that their storytelling seeks to push the limits while being careful not to lose connection to real-life experiences.
The Third chapterFollowing “Honey Don’t” and “Drive Away Dolls” Ethan Coen and Tricia Cooke aim to continue exploring lesbian-themed genre films with the third chapter. Their next project, Go Beavers promises to further innovate within the genre, blending traditional storytelling with daring, fresh perspectives on sexuality and identity.
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The entertainment world mourns the loss of Robert Redford, the iconic actor, acclaimed director, and passionate environmental activist, who died early Tuesday morning at his home in Utah at the age of 89. His death marks the end of an era for Hollywood and independent cinema, as Redford’s influence extended far beyond the silver screen to reshape how America tells its stories.
A Career That Defined American CinemaRobert Redford‘s career spanned over five decades, during which he became one of Hollywood’s most bankable stars while maintaining an unwavering commitment to meaningful storytelling. Unlike many of his contemporaries who chased commercial success, Redford consistently chose projects that carried cultural weight, making serious topics accessible to mainstream audiences through his immense star power.
His breakthrough role came in 1969 with “Butch Cassidy and the Sundance Kid,” where his chemistry with Paul Newman created one of cinema’s most beloved partnerships. The duo reunited for “The Sting” (1973), which earned Redford his only Oscar nomination as an actor. These films, along with politically charged thrillers like “All the President’s Men” (1976) and “Three Days of the Condor” (1975), established him as an actor capable of combining entertainment with substance.
The Director’s VisionRedford’s transition to directing in his 40s proved equally successful. His directorial debut, “Ordinary People” (1980), won him an Academy Award and demonstrated his ability to handle complex emotional narratives. The film’s exploration of an upper-middle-class family’s disintegration after tragedy showcased Redford’s preference for intimate, character-driven stories over Hollywood spectacle.
Despite the commercial failure of “The Milagro Beanfield War” (1988), Redford remained committed to unconventional material. His later directorial efforts, including “A River Runs Through It” (1992) and “Quiz Show” (1994), further cemented his reputation as a filmmaker unafraid to tackle challenging subjects. “Quiz Show” received four Oscar nominations, including Best Picture and Best Director.
The Sundance RevolutionPerhaps Redford’s most enduring contribution to cinema was the creation of the Sundance ecosystem. In 1981, he founded the Sundance Institute, dedicated to nurturing emerging filmmakers outside the Hollywood system. His transformation of a struggling Utah film festival into the globally recognized Sundance Film Festival created a platform that launched countless careers and changed the landscape of American independent cinema.
The festival became synonymous with discovering fresh talent, with directors like Steven Soderbergh, Quentin Tarantino, Darren Aronofsky, and Chloé Zhao all benefiting from Sundance’s support early in their careers. From a few hundred attendees in the 1980s to over 85,000 in recent years, Sundance grew into the world’s premier showcase for independent films and documentaries, particularly those addressing progressive social issues.
Environmental Activism and Personal PrinciplesBeyond his cinematic achievements, Redford was a pioneering environmental activist who helped establish the archetype of the celebrity environmentalist. His activism wasn’t merely symbolic – he successfully campaigned against destructive development projects in Utah, including a six-lane highway proposal in 1970 and a coal-fired power plant in 1975. These victories often came at personal cost, as evidenced by his being hanged in effigy by opponents who criticized his wealth and celebrity status.
As a trustee of the Natural Resources Defense Council for three decades, Redford used his platform to advocate for environmental protection long before it became fashionable in Hollywood. His approach to activism was pragmatic rather than political; after a brief stint as a Provo Canyon sewer district commissioner in the late 1970s, he became convinced that independent activism and storytelling were more effective tools for change than traditional politics.
A Complex LegacyRobert Redford‘s career wasn’t without its challenges. Critics often dismissed his leading man looks, particularly after his widely panned performance in “The Great Gatsby” (1974). Financial pressures in his later years led to the sale of various Sundance ventures, and he sometimes clashed with distributors over marketing strategies for his more artistic projects.
Yet these struggles only highlighted Redford’s unwavering commitment to his principles. Even when facing criticism or financial difficulties, he refused to compromise his vision or abandon his environmental causes. His final acting roles in “Our Souls at Night” (2017) and “The Old Man and the Gun” (2018) demonstrated his continued dedication to meaningful storytelling, even as physical limitations forced his retirement from acting.
An Enduring ImpactRobert Redford’s death represents the loss of a true original – an artist who successfully balanced commercial appeal with artistic integrity, celebrity status with environmental responsibility, and Hollywood glamour with authentic storytelling. His influence on American cinema extends far beyond his own performances and films to encompass an entire generation of independent filmmakers who found their voice through Sundance.
As the film industry continues to evolve, Redford’s legacy serves as a reminder that entertainment can be both profitable and purposeful, that celebrity status carries responsibility, and that authentic storytelling will always find an audience. His life’s work proved that one person’s vision and determination can indeed change an entire industry – and perhaps the world beyond it.
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“Newport & The Great Folk Dream”, directed by Robert Gordon, produced by Joe Lauro and presented out of competition at 82nd Venice film Festival, is a documentary made from footage shot in the early 1960s and it could not be more relevant to this 21st century political moment. While making it, they observed the USA trying to turn the world back to the racist and nationalist sentiments of this movie’s early 1960s era. In contrast, they were powerfully moved by the festival’s embrace of diverse cultures, by the exchange of songs and technique between the generations, by the 1960s fight for racial and electoral freedom.
“Newport and the Great Folk Dream” captures the spirit of protest that defined that era. From civil rights demonstrations to anti-war demonstrations, music served as a vital tool for expression and activism. As Robert Gordon explains “the music at that time helped bring along change in the civil rights movement and the anti-war movement. Singing gave people a sense of power and unity”.
Modern relevance of musicThe filmmakers note that the themes of protest and social activism remain relevant today. Gordon reflects: “Music is powerful in many ways. When people sing for a cause now as in the past, it creates a bond that can inspire action”. The film advocates that music continues to be a potent tool that can bridge generational gaps and inspiring collective effort.
“Newport and the Great Folk Dream” serves as a powerful reminder of how art and activism intertwine. Through restored footage and insightful storytelling, the film captures a pivotal moment in American history, highlighting the timeless role of folk music as a catalyst for change.
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Lee Hong-Chi’s latest movie, “A Dance in Vain”, showcased at Venice Critics Week at the 82nd Venice Film Festival, delves into the cityscape of Shanghai to portray a landscape of lost hopes and silent struggles. The film captures the emotional landscape of contemporary urban youth, blending minimalist acting with poetic narrative techniques that evoke both despair and resilience. We talked about the movie with director Lee and actress Cici Wang.
A Portrait of a Changing ShanghaiSet against the backdrop of a city grappling with economic decline, “A Dance in Vain” paints a portrait of Shanghai as a place where dreams fade amidst growing urban alienation. The film’s protagonist, Monkey, a young artist searching for her space in this ambiguous city, embodies the sense of disconnection felt by many young people today. “This city is no longer a land of dreams but a place of unfulfilled hopes,” explains Lee Hong-Chi. The narrative explores how economic hardships and social pressures influence the aspirations of the new generation.
Minimalism and Voiceover as Narrative ToolsOne of the hallmarks of “A Dance in Vain” is Lee Hong-Chi’s deliberate use of minimalistic acting, especially in the portrayal of Monkey, played with restrained emotion by actress Cici Wang. The director emphasizes internal expression, requiring actors to convey complex feelings through subtle gestures and minimal dialogue. This approach heightens the film’s contemplative atmosphere.
Lee Hong-Chi also employs classical voiceover techniques, reminiscent of film noir, to express the inner worlds of the characters. “Voiceover allows us to delve into mental journeys that visuals alone might not fully capture,” he explains. The technique creates a layer of introspection and regret, adding depth to the narrative and encouraging viewers to reflect on the characters’ inner struggles.
Themes of Generation and HopeReflecting on the film’s themes, Lee Hong-Chi discusses the emotional state of today’s youth. Although material needs are generally met, many young people grapple with existential questions: “What is the purpose of life? Can I fulfill my dreams?” He highlights that younger generations, unlike their predecessors, face intense social pressures despite experiencing relatively comfortable childhoods. His observations are grounded in real-life encounters, as most actors and locations are non-professionals and authentic settings within walking distance from his home.
“While they are financially stable, many young people feel lost and question their future,” Lee Hong-Chi notes. The film portrays this internal conflict, capturing both the superficial vibrancy of urban life and the deep-seated despair of unmet expectations.
Authentic Urban Life in Cinematic StyleShot in real locations such as cafés, floral shops, and streets near the director’s residence, “A Dance in Vain” emphasizes authenticity. The casual, candid atmospheres contribute to the film’s realism, immersing viewers in contemporary Shanghai life. By depicting everyday environments and non-actors, Li Hongqi creates a raw and intimate portrait of a city and its young inhabitants.
A Reflection on Urban Identity and Personal Purpose“A Dance in Vain” is a reflection on the evolving identity of urban youth amidst societal change. The film raises questions about hope, purpose, and the ongoing search for individuality in a city of shifting dreams. It offers a poetic yet unflinching look into the emotional landscape of modern China.
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Interview during the 82nd edition of Venice International Film Festival with Julian Schnabel, director of the film “In the hand of Dante”, and actor Oscar Isaac. The production, part of the official selection in Venice Film Festival 2025, is based on the book by Nick Tosches that intertwines two temporal lines: one of the author, looking for the original manuscript of “The Divine Comedy”, and a second one that follows Dante himself.
Julian Schnabel’s fascination with Dante stems from the complexity and impossibility of the original book. The director explained that the source material is “one of the craziest and most impossible books I’ve ever read”. Oscar Isaac, also an executive producer of the film, shared insights into his role and the passion behind producing “In the Hand of Dante.” He revealed that he chooses projects primarily based on emotional connection and a sense of ownership. For Isaac, this film represented both a personal challenge and an exploration of profound themes.
Julian Schnabel’s directorial style is characterized by a fearless embrace of spontaneity and improvisation. Oscar Isaac described Schnabel as a director who “divides towards the unknown,” fostering an environment where inspiration flows freely. The creative process was described as “working without a net”, highlighting the unpredictable and intuitive nature of shooting this wild, visceral film.
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We met in Venice with Jacopo Chessa, director of the Veneto Film Commission and also president of the Italian Film Commissions Association (IFC). With these two hats, we had a chat on both jobs and the reasons that brought him to the festival and the Venice Production Bridge.
The agreement between IFC and British Film CommissionsAs president of IFC, Jacopo Chessa tells us about the renovation of the agreement between the association and the British Film Commissions. The agreement will be signed at Focus London; the novelty of it lays in the definition of outbound missions and incoming missions for both countries for producers to go and visit and experience new locations and situations that can be inspirational for new projects or right to be used for projects already in preparation. the aim of this new aspect of the agreement is fostering coproductions between the two countries.
Some highlights from the Veneto Film CommissionJacopo Chessa, director of Veneto Film Commission, announced that the new call for projects will be opened in early October, with a budget to be given out of 3 millions euros. The film commission is also very proud to be present this year at the Venice International film festival with 5 films, in different sections, that were helped and supported through the film commission offices.
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Josh Siegel, film curator at MOMA in New York is one of the members of the first ever jury at Giornate degli Autori. He is happy to be here as he has a great admiration for Gaia Furrer, the director fo Giornate degli Autori , and all her team. We talked about this experience and also about his job as film curator.
The only possible approach to the role of a jurorJosh Siegel is adamant on having an open mind as the only possible approach to the task of judging a film. The open mind is not only referred to the various genre of films you can potentially watch, but also to the ideas and sensibility of your fellow jurors, that have different taste that could be challenging to you but maybe could shed a new light on your vision of a film.
Being a film curator is to have open mind as wellThe joy of his job lies on the possibility of celebrating great directors on the recent or older past (like Chantal Ackerman, with a retrospective to open in two weeks time), as well as discovering new talents new directors he ‘ve never heard of before. Again, all is about being receptive.
MOMA has a privileged position in the diffusion of cinemaIt is true, Josh Siegel explains, that MOMA has been the first museum that considered cinema as an art form as well as painting and sculpture, photography, design , architecture. This oriented films in a larger context, in the whole story of modernism and contemporary art . In addition to that, MOMA has an audience composed by scholars as well as regular film goers so our aim is to educate and entertain, that gives us a chance of wider possibilities of programming.
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At the 82nd Venice International Film Festival, the official awards were announced, assigned by the five international juries during the closing ceremony.
Venezia 82The jury, chaired by Alexander Payne, with Stéphane Brizé, Maura Delpero, Cristian Mungiu, Mohammad Rasoulof, Fernanda Torres, and Zhao Tao, awarded:
- Golden Lion for Best Film: Father Mother Sister Brother by Jim Jarmusch (USA, Ireland, France)
- Silver Lion – Grand Jury Prize: The Voice of Hind Rajab by Kaouther Ben Hania (Tunisia, France)
- Silver Lion – Best Director: Benny Safdie, The Smashing Machine (USA)
- Volpi Cup – Best Actress: Xin Zhilei, Ri Gua Zhong Tian (The Sun Rises on Us All) by Cai Shangjun (China)
- Volpi Cup – Best Actor: Toni Servillo, La grazia by Paolo Sorrentino (Italy)
- Best Screenplay: Valérie Donzelli and Gilles Marchand, À pied d’œuvre by Valérie Donzelli (France)
- Special Jury Prize: Sotto le nuvole by Gianfranco Rosi (Italy)
- Marcello Mastroianni Award (emerging actor): Luna Wedler, Silent Friend by Ildikó Enyedi (Germany, Hungary, France)
OrizzontiEn el camino Best Film OrizzontiThe jury chaired by Julia Ducournau, with Yuri Ancarani, Fernando Enrique Juan Lima, Shannon Murphy and RaMell Ross, awarded:
- Best Film: En el camino by David Pablos (Mexico)
- Best Director: Anuparna Roy, Songs of Forgotten Trees (India)
- Special Jury Prize: Harà Watan (Lost Land) by Akio Fujimoto (Japan, France, Malaysia, Germany)
- Best Actress: Benedetta Porcaroli, Il rapimento di Arabella by Carolina Cavalli (Italy)
- Best Actor: Giacomo Covi, Un anno di scuola by Laura Samani (Italy, France)
- Best Screenplay: Ana Cristina Barragán, Hiedra (The Ivy) (Ecuador)
- Best Short Film: Utan Kelly (Without Kelly) by Lovisa Sirén (Sweden)
Venice Award for a Debut Film – Luigi De LaurentiisThe jury chaired by Charlotte Wells, with Erige Sehiri and Silvio Soldini, awarded:
- Lion of the Future: Short Summer by Nastia Korkia (Germany, France, Serbia)
Giornate degli Autori – Venice Spotlight Audience Award – Armani Beauty: Calle Málaga by Maryam Touzani* (Morocco, France, Spain, Germany, Belgium)
Venice ClassicsThe jury chaired by Tommaso Santambrogio with 23 Italian film students awarded:
- Best Documentary on Cinema: Mata Hari by Joe Beshenkovsky, James A. Smith (USA)
- Best Restored Film: Bashu, Gharibeye Koochak (Bashù, The Little Stranger) by Bahram Beyzaie (Iran, 1985)
Venice ImmersiveThe jury chaired by Eliza McNitt, with Gwenael François and Boris Labbé, awarded:
- Grand Prize Venice Immersive: The Clouds Are Two Thousand Meters Up by Singing Chen (Taipei, Germany)
- Special Jury Prize: Less than 5gr of Saffron by Négar Motevalymeidanshah (France)
- Achievement Award: A Long Goodbye by Kate Voet and Victor Maes (Belgium, Luxembourg, Netherlands)
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Emma Barboni, of the Emilia Romagna Film Commission comes to talk with Fred Radio about the participation of her institution at the Venice International Film festival, both for the usual meetings with producers and directors at the VPB but also to support the films in the festival’s selections that were shot in Emilia Romagna region through the help of her office. One of these films is “The Kidnapping of Arabella” by Carolina Cavalli ,which stands out for its compelling storytelling, impressive visuals, and the region’s strategic role in film production and development.
The film’s unique visuals and setting“The Kidnapping of Arabella” is praised for its stunning cinematography and the portrayal of authentic settings. The film’s director and production team chose Emilia Romagna for its diverse landscapes and rich cultural backdrop. Locations in Ferrara, Ravenna, Rimini, Comacchio, Codigoro, and Ville di Comacchio contributed to creating a visually captivating narrative that transports viewers into the story accurately yet artistically. Some scenes intentionally blend in imaginative landscapes, making it challenging to recognise the actual locations on screen. This technique underscores Emilia Romagna’s versatility and its capacity to support both realistic and stylised storytelling. The regional landscapes serve as a vital asset, offering filmmakers a palette for creative expression.
Regional support and coproduction opportunitiesThe Emilia Romagna Film Commission plays a significant role in fostering international co-productions and attracting filmmakers worldwide. Recently, the region has secured agreements with entities like the Essen Film Area, aiming to boost coproduction projects with German and French partners. Such collaborations are part of Emilia Romagna’s broader strategy to reduce production costs and encourage international partnerships. New rules and incentives, such as lowering regional spending requirements for minority coproductions from 30% to 20%, make the region more attractive for filmmakers seeking cost-effective locations. These policies aim to facilitate coproductions that bring diverse stories to life while strengthening regional film infrastructure.
Upcoming projects and regional talentThe festival also highlighted several promising projects in development, including works by regional production companies like Tempesta Film. Notable titles include the film about Giovanni Pascoli, directed by Giuseppe Piccioni, and new projects in the pipeline that benefit from the region’s supportive infrastructure. The region’s talent pool is equally vibrant. Young actors and established filmmakers are increasingly choosing Emilia Romagna as their filming destination, thanks to its availability of high-quality locations and regional funding programs. Casting sessions for upcoming productions have already begun, with promising talent emerging from local auditions.
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At the 82nd Venice International Film Festival, the collateral awards were announced, adding to the official competition with recognitions dedicated to independent cinema, new voices, and experimental storytelling.
Queer Lion Award 2025 En el camino by David Pablos*
Cinema & Arts Award Best Film (ex aequo): The Tale of Silyanby Tamara Kotevska, Qui vit encore by Nicolas Wadimoff * Best Multidisciplinary Artist: Morteza Ahmadvand, Firouzeh Khosrovani*
FRED Award 2025 Dag Johan Haugerud*, President of the Giornate degli Autori Jury
Final Cut in Venice Main Award: The Station (Al Mahattah) by Sara Ishaq * Partner Awards: My Semba, House of the Wind, Let’s Play Soldiers, Out of School, Yesterday the Eye Didn’t Sleep, Standing at the Ruins, Legacy*
Other Collateral Awards 1964 Pop Art Award (Cineteca Calabria): Valeria Bruni Tedeschi * Arca CinemaGiovani: The Voice of Hind Rajab by Kaouther Ben Hania (Best Film in Competition), La grazia by Paolo Sorrentino (Best Italian Film) * Under 40 Women Authors Award (Parallelo 41 Produzioni): Un anno di scuola by *Laura Samani (Best Director), Vainilla by Mayra Hermosillo (Best Screenplay) * BookCiak Award (Calipso Association): L’Étranger by François Ozon * Brian Award (UAAR): La grazia by Paolo Sorrentino * Fundación Casa Wabi – Mantarraya Award: assigned to the winner of the Luigi De Laurentiis Venice Award for a Debut Film * XXXVII CICT-UNESCO Enrico Fulchignoni Prize – Fellini Medal: The Voice of Hind Rajab by Kaouther Ben Hania * CinemaSarà Award (Fondazione Cineteca Italiana): Silent Friend by Ildikó Enyedi * Italian Red Cross Award: The Voice of Hind Rajab by Kaouther Ben Hania * Edipo Re Award: The Voice of Hind Rajab by Kaouther Ben Hania, Silent Friend by Ildikó Enyedi – Youth Jury Award: Straight Circle by Oscar Hudson * Fai Persona Lavoro Ambiente Foundation Award: Human Resource by Nawapol Thamrongrattanarit – Special Mentions: À pied d’œuvre (work), Ghost Elephants (environment), Sotto le nuvole (social environment) * Fanheart3 Award: Frankenstein by Guillermo Del Toro (Golden Graffetta), Hateshinaki Scarlet by Mamoru Hosoda (Silver Ship – Best OTP), Happy Shadow by Pei-Ying Lin and Ting-Ruei Su (XR Fan Experience) * FEDIC Award: La valle dei sorrisi by Paolo Strippoli (Feature), Arca by Lorenzo Quagliozzi (Short) * Film Impresa Special Award (Unindustria): Ferdinando Scianna – Il fotografo dell’ombra by Roberto Andò * FIPRESCI Award: Silent Friend by Ildikó Enyedi (Competition), Agon* by Giulio Bertelli (SIC) * Europa Cinemas Label: Bearcave by Stergios Dinopoulos and Krysianna B. Papadakis * People’s Choice Award (Giornate degli Autori): Memory by Vladlena Sandu, A Sad and Beautiful World by Cyril Aris * GDA Director’s Award: Inside Amir by Amir Azizi * Green Drop Award: Bugonia by Yorgos Lanthimos, Silent Friend by Ildikó Enyedi * Impact Golden Globes Prize (Documentary): Remake by Ross McElwee * Interfilm Award (Interreligious Dialogue): Silent Friend by Ildikó Enyedi * Lanterna Magica Award (CGS): Un anno di scuola by Laura Samani * Leoncino d’Oro Agiscuola/UNICEF: The Voice of Hind Rajab by Kaouther Ben Hania – UNICEF Special Mention: The Voice of Hind Rajab * Carlo Lizzani Award (ANAC): Confiteor by Bonifacio Angius * NETPAC Award: Hijra (The Ivy) by Shahad Ameen * NUOVOIMAIE Talent Award – Fabio Sartor Prize: Giacomo Covi, Pietro Giustolisi, Samuel Volturno (Un anno di scuola) * Francesco Pasinetti Award (SNGCI): La grazia by Paolo Sorrentino (Best Film), Valeria Bruni Tedeschi (Best Actress), Toni Servillo (Best Actor), Anna Ferzetti (Special Award) * La Pellicola d’Oro Award: Elda Baldi (Production Manager – La grazia), Michael Ceracchini (Props – Duse), Diana Maria Hernandez Giralo (Chief Electrician – Elisa) * RB Casting Award: Tiziano Menichelli (Il Maestro) * SIC Grand Prize: Straight Circle by Oscar Hudson * SIC Audience Award: Ish by Imran Perretta * Luciano Sovena Award: Agon by Giulio Bertelli * Mario Serandrei – Hotel Saturnia Award: Waking Hours by Federico Cammarata, Filippo Foscarini * SIC@SIC Awards: Marina by Paoli De Luca (Best Short, Best Technical Contribution), Festa in famiglia by Nadir Taji (Best Direction) * SIGNIS Award: Elisa by Leonardo Di Costanzo * Sorriso Diverso Venezia Award: Elisa by Leonardo Di Costanzo (Italian Film), The Voice of Hind Rajab by Kaouther Ben Hania (Foreign Film) * Soundtrack Stars Award: Duse (score by Fabrizio Elvetico, Marco Messina, Sacha Ricci) * UNIMED Award: The Voice of Hind Rajab by Kaouther Ben Hania
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An engaging new film, “Director’s Diary”, debuted at the 82nd Venice International Film Festival, offering a profound glimpse into both personal memories and collective history. Blending artistic expression with documentary elements, the film presents a compelling portrait of life through the eyes of its creator, capturing the essence of a turbulent era from 1957 to 1991. We met with the director Aleksandr Sokurov, and the producer Alena Shumakova on the eve of the premiere at the Venice Festival.
A Personal Chronicle Becomes a Cinematic Journey“Director’s Diary” is based on a handwritten journal kept by the director over several decades, chronicling world events, social upheavals, and personal reflections. The decision to transform these pages into a film stemmed from a sense of necessity and artistic urgency. “I realized I needed to ‘bake’ this story,” the director explained, as the project was more than a personal endeavor—it aimed to resonate with a wider audience seeking understanding of a complex period. The film serves as a visual “sculpture of time,” thoughtfully selecting a range of pivotal moments. It is not a documentary in the traditional sense but an artistic exploration that leaves room for interpretation, avoiding didacticism or polemics. Instead, “it silently presents the most painful and significant aspects of human life,” the director added, inviting viewers to reflect rather than be pressed for a specific viewpoint.
Themes and Visual Choices“Director’s Diary” delves into themes that extend beyond the Russian experience, touching on broader European and global histories. The film weaves archival footage—primarily Russian—capturing social movements, political upheavals, and milestones in cinema history. “I wanted to include images that matter, not just for Russia but for everyone,” the filmmaker shared. The selection process was guided by emotional resonance and significance. Sokurov aimed to portray the faces of everyday people—workers, farmers, individuals living simple yet dignified lives. “I love my compatriots,” he states. The film captures moments of daily life—people traveling on the metro, street vendors—showcasing their inner strength and unique dignity.
A Poetic Reflection on Society and Humanity“Director’s Diary” does not shy away from difficult topics but approaches them with a contemplative tone. The film avoids political condemnation or news-reporting style, favouring an emotional and artistic rendering of history. This approach allows the audience to engage deeply with the personal and collective stories presented, fostering empathy through visual storytelling. Sokurov points out that the film is an artistic exercise—not a commentary or critique but a poetic reflection of life’s ebb and flow. “From a multiplicity of things, we try to form a sculpture of time as it unfolds,” he explained, blending personal memory with societal observations.
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Nidhi Saxena is the director of the film “Secret of a Mountain Serpent”, one of the four films of the Biennale College program, a compelling reflection on the themes of confinement, cultural identity, and the transformative power of dreams. Premiering at the 82nd Venice Film Festival and starring Adil Hussain, this introspective piece captures the stark realities faced by women living in mountainous regions, juxtaposed with their aspirations and inner strength.
Unveiling the Artistic Vision“Secret of a Mountain Serpent” delves into the lives of women in isolated mountain communities, where the landscape often feels like a prison. The filmmaker emphasises the importance of change and perseverance. She reflects on how women in these areas dream of transformation — not just individual growth, but societal shifts as well. “It’s fascinating how women can change, how dreams can finally materialise,” she notes. The narrative explores their journeys of self-discovery, underlying that change often begins with a resolute desire to pursue one’s passions.
Authenticity and Cultural RootsSet against the backdrop of Rajasthan and the northeastern regions of India, including Sikkim, “Secret of a Mountain Serpent” authentically portrays the diverse tribal cultures. “I want to show the essence of their dreams, their hopes, without necessarily highlighting conflict,” she explains.
Themes of Transformation and HopeThroughout the movie, the theme of transformation is palpable. Nidhi Saxena speaks about a long-held vision, rooted in her passion for storytelling and her cultural heritage. She believes that storytelling can be a catalyst for change, reflecting her conviction that dreams hold the power to reshape realities. “Change is a principle we follow,” she states. Whether addressing gender roles or societal expectations, the film underscores that even in the most remote corners, aspirations persist. The characters’ journeys symbolise a broader universal struggle to break free from constraints and realize their true potential.
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The documentary “Kim Novak’s Vertigo” offers an intimate portrait of the Hollywood star renowned for her role in Alfred Hitchcock’s masterpiece, Vertigo. Filmmaker Alexander O. Philippe sheds new light on Kim Novak‘s extraordinary life, revealing personal insights and emphasising her often-overlooked filmography. We have an interesting talk before the Premiere at the Venice Film Festival.
Unveiling Novak’s personal journeyThe documentary delves into Novak’s personal life, highlighting her deep connection with director Alexander O. Philippe. According to the filmmaker, their bond evolved quickly, allowing Novak to share candid reflections about her experiences in Hollywood. The director describes her not merely as the star of Vertigo but as a “wonderful person” who profoundly impacted his life.
Throughout the film, Novak openly discusses her feelings about Hollywood’s manipulative nature and her resistance to it. She recounts how the industry often manipulated her image and choices, emphasizing her desire to remain true to herself. Such honesty offers viewers a rare glimpse into the actress’s internal struggles—elements that are often glossed over in Hollywood portrayals.
Celebrating Novak’s filmographyA significant aspect of the documentary is its emphasis on Novak’s diverse and underrated filmography. While most audiences associate her with Vertigo, O. Philippe advocates for a broader appreciation of her work. He highlights films like “Stranger when we meet”, “Lylah Claire”, “Kiss me stupid”, and “Middle of the night”. “Her films are astonishing”, he remarks. “We need to bring her back into the spotlight and reevaluate her contributions to cinema”. The documentary suggests that Novak’s lesser-known works are ripe for rediscovery and deserve recognition on the same level as Vertigo.
Mystery and self-remembranceOne of the film’s intriguing elements is its narrative structure, which mirrors Vertigo’s spiral motif. Novak’s reasons for leaving Hollywood remain elusive, presented as a series of revelations that change with each retelling. Alexander O. Philippe emphasizes that life, much like Novak’s story, is complex and full of convoluted, non-linear truths.
This approach underscores Novak’s core belief in staying true to herself. She left Hollywood because she felt she could no longer remain authentic within its confines, a decision driven by her desire for integrity rather than external pressures.
A legacy worth rediscovering“Kim Novak’s Vertigo” is more than a tribute; it’s an invitation to reevaluate one of Hollywood’s most enigmatic actresses.
As O. Philippe I notes, Novak’s story reflects broader themes of self-preservation and artistic integrity amid Hollywood’s often harsh realities. This documentary encourages new generations to explore her filmography and understand her true legacy, which extends far beyond her iconic performance in Vertigo.
For cinephiles and newcomers alike, “Kim Novak’s Vertigo” is a compelling portrait of a talented actress whose influence continues to resonate within cinema history. A must-watch for anyone interested in Hollywood’s golden age and the stories seldom told behind the camera.
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As happens very year, we are delighted to meet in Venice with Valentina Martelli, founder and CEO of ITTV International Forum & TechInEntertainment, to talk about the development of the event and the key moments to note of the forum that works like a bridge between finance and film industry, including the tech side of it that is getting more and more substantial and important.
The forum is born to help interactionsValentina Martelli echoed the importance of quick, meaningful interactions. She highlighted how short, targeted encounters—sometimes only lasting two or three days—are crucial for fostering collaborations and maintaining industry momentum. These spontaneous networking moments often lead to new opportunities, emphasising the importance of face-to-face engagement in a digital age.
Innovating film direction with technologyDiscussing the creative process behind films, Valentina Martelli noted a significant shift in filmmaking approaches. Directors are increasingly using advanced tools, including AI, to enhance storytelling. Valentina pointed out that the integration of technology allows filmmakers to experiment more freely, blending traditional craft with innovative solutions. This approach not only broadens creative horizons but also opens doors for new forms of expression within the film industry.
AI’s role in shaping contemporary cinemaThe conversation touched on the ongoing influence of artificial intelligence in filmmaking. From training algorithms using extensive libraries to streamlining production workflows, AI offers a range of possibilities. Valentina Martelli emphasised that while AI can assist in various stages—such as location scouting with tools like Google Maps—it is ultimately human ingenuity that drives meaningful storytelling. Films like “Rainbow” serve as a testament to how technology and human creativity can coexist, pushing cinema toward exciting new frontiers.
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In this exclusive interview, in collaboration with Kinótico, we speak with Michael Tyburski, director of “Turn Me On“, a sci-fi romantic drama starring Bel Powley and Nick Robinson.
Tyburski’s debut feature, “The Sound of Silence“, premiered in competition at Sundance 2019.
His short film “Palimpsest” won a Special Jury Prize at Sundance 2013, and in the same year, he was named one of the 25 New Faces of Independent Film by Filmmaker magazine.
Tyburski is also no stranger to the San Sebastian Film Festival, having participated in its Culinary Zinema section in 2014 with his documentary short “Brooklyn Farmer“.
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Ethan Hawke is one of the main guests of the 20th Lucca Film Festival.
Protagonist of a masterclass with university students, audience and press, the actor, director, writer and musician received the Golden Panther Award for his achievements.
To celebrate him, Lucca Film Festival showcased a very effective selection of the titles that made his acting and directing career.
From Peter Weir’s drama Dead Poets Society (1989), a critical success starring Robin Williams as the protagonist which launched his career as an actor to the Richard Linklater’s “Before” trilogy that he also co-wrote the screenplay of, along with his co-star Julie Delpy.
Among his films as director, the festival presented “Blaze, Seymour: an Introduction” and his latest work, “Wildcat“, as an italian premiere.
The film stars Hawke’s daughter, actress and songwriter Maya Hawke in the role of American novelist Flannery O’Connor.
When asked which moment of his life he’s the most nostalgic about, Ethan Hawke answers: “I get nostalgic about basically everything, strangely even about the darkest period in my life because I was growing”.
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The legendary filmmaker Martin Scorsese, an undisputed master of world cinema and the creator of some of the most iconic films in history, will be the guest of honour at the National Museum of Cinema in Turin on October 7 and 8, 2024. Scorsese will receive the prestigious Stella della Mole Award during a gala evening dedicated to him and will hold an exclusive Masterclass, followed by a retrospective of his most celebrated works.
Event ScheduleOctober 7, 2024
- 2:00 PM: Press conference at the National Museum of Cinema
- 7:30 PM: Award ceremony in the Temple Hall of the Mole Antonelliana
October 8, 2024
- 5:30 PM: Red Carpet at the Mole Antonelliana
- 6:00 PM: Masterclass by Martin Scorsese at Cinema Massimo
- 8:00 PM: Introduction to the retrospective at Cinema Massimo, followed by a screening of one of his most beloved films
Tickets for the Masterclass and retrospective will be available starting October 2, 2024, at 10:00 AM on www.museocinema.it and at 4:30 PM on www.cinemamassimotorino.it.
A Tribute to a Cinema MasterMartin Scorsese is widely regarded as one of the most influential and innovative directors in contemporary cinema. Born in New York in 1942 and raised in the Italian-American neighbourhood of Little Italy, he developed a passion for cinema at a young age, heavily influenced by Italian Neorealism and the great masters such as Rossellini and Fellini. These filmmakers deeply shaped his work, often exploring themes such as Italian-American identity, guilt, redemption, religion, and violence.
Since his involvement in the New Hollywood movement of the 1970s, Scorsese has revolutionized cinematic language, creating masterpieces like Mean Streets (1973), Taxi Driver (1976), Raging Bull (1980), and Goodfellas (1990). These films not only redefined gangster cinema and urban drama but also delved into the darker sides of the human psyche and American society.
Scorsese has also established some of film history’s most enduring and celebrated collaborations, particularly with actors like Robert De Niro and Leonardo DiCaprio. His partnerships with De Niro have produced iconic films such as Taxi Driver, Raging Bull, and Cape Fear. At the same time, his work with DiCaprio has resulted in notable films like The Aviator, The Wolf of Wall Street, and the recent Killers of the Flower Moon (2023).
Martin Scorsese’s Global ImpactA winner of numerous international awards, including an Academy Award for Best Director for The Departed (2006), Scorsese has left a profound mark on the history of world cinema. In addition to the Oscar, he has received prestigious accolades such as the Palme d’Or at the Cannes Film Festival, the Golden Lion for Lifetime Achievement at the Venice Film Festival, four BAFTA Awards, three Emmy Awards, and a Grammy Award.
Scorsese is also a passionate advocate for the preservation of cinematic heritage. In 1990, he founded The Film Foundation, a non-profit organization dedicated to restoring and preserving classic films. Thanks to his passion for film history, he has helped restore over 1,000 films worldwide, ensuring that these works continue to inspire future generations.
Scorsese’s Statement“Ever since I sat with my grandparents and parents watching Rossellini’s Paisà on television more than 70 years ago, Italian cinema has held a very special place in my heart, a presence that has guided me, supported me, encouraged me in my work as a filmmaker,” Scorsese said, recalling his love for directors like Rossellini. “It is truly meaningful for me to receive such recognition at this particular moment in my life, in this beautiful museum here in Turin dedicated to the history of one of the great loves of my life: Italian cinema.”
Retrospective and Special ScreeningsTo celebrate Scorsese’s visit, Cinema Massimo will host a retrospective dedicated to the Maestro from October 11 to 13, 2024, featuring a selection of his most iconic works. Scorsese will introduce the retrospective on October 8 with a special talk at 8:00 PM, followed by the screening of one of his most acclaimed films.
With a career over six decades, Martin Scorsese continues influencing and inspiring generations of filmmakers. This event is a unique opportunity for cinema enthusiasts to meet a true master and immerse themselves in the world of one of the most celebrated directors ever.
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During the London Spanish Film Festival, Fred Film Radio spoke with Simón Casal, the mind behind the gripping and provocative political thriller “Artificial Justice“.
Casal gave us an insight into the extensive research he undertook to fully understand the current state and impact of artificial intelligence across different sectors, but particularly justice, to craft his near-future world and story.
He also shared how his feature sits within the broader genre of sci-fi, where our fears around the impact of technology on our lives have long been made manifest, from the likes of “Minority Report” to “Black Mirror“, plus other reference points that informed his movie’s look and feel, such as the noir-meets-sci-fi sensibility of “Blade Runner“.
In the same way the movie opens with a referendum on whether AI should be allowed to replace judges in the judicial system, Casal too wants to ask his audience which way they would vote given the chance, and if some aspects of the law should stay in the hands of humans, so that decisions can be made with empathy and humanity.
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Dame Maggie Smith, one of the most revered and talented British actresses in history, passed away at 89 in London. With a career of over seven decades, Maggie Smith left an indelible mark on theatre, film, and television. From her groundbreaking roles in The Prime of Miss Jean Brodie and Downton Abbey to her iconic portrayal of Professor Minerva McGonagall in the Harry Potter franchise, Smith’s extraordinary versatility and talent captivated audiences around the world.
Her death, announced by her family in a heartfelt statement, leaves a monumental void in the cinematic and theatrical worlds, though her legacy will undoubtedly endure. Despite her immense fame, Smith was known for her ability to maintain a low public profile, even after gaining global recognition for her pivotal roles in major productions.
A Legendary Career Rooted in the ClassicsBorn Margaret Natalie Smith on December 28, 1934, in Ilford, Essex, Maggie Smith was introduced to the stage at a young age. After attending the Oxford High School for Girls, she joined the prestigious Oxford Playhouse at the age of 16, setting the course for her storied acting career. From her early days in British theatre, Smith quickly made a name for herself as a formidable presence on stage, known for her sharp wit, comedic timing, and emotional depth.
By the 1960s, she had solidified her reputation as one of the most promising actors in British theatre, working with legends like Laurence Olivier at the National Theatre. One of her defining roles during this period was her portrayal of Desdemona in Olivier’s production of Othello. The 1965 film adaptation of Othello would earn Smith her first of six Oscar nominations.
Her brilliance on the stage was not confined to the UK. In 1975, Smith returned to Broadway, starring in productions like Noël Coward’s Private Lives, for which she received critical acclaim and a Tony nomination. However, it was her role in Peter Shaffer’s Lettice and Lovage (1990) that earned her a Tony Award, cementing her place in theatrical history.
The Transition to Film and Global StardomSmith’s transition from stage to screen came seamlessly, and she quickly became a beloved figure in the film world. In 1969, she starred in The Prime of Miss Jean Brodie, playing an eccentric, unorthodox Scottish schoolteacher whose personal beliefs and controversial relationships threatened to unravel her life. This performance won her the Academy Award for Best Actress, bringing her international acclaim.
Her second Oscar came in 1979 for her role in California Suite, a Neil Simon comedy in which she played a British actress nominated for an Academy Award, a poignant reflection of her own experiences in the entertainment industry. Her skill in balancing humour with genuine pathos set her apart, a quality that would define many of her later performances.
Yet, despite these accolades, Maggie Smith remained a relatively private figure until the global phenomenon that was Downton Abbey. Starting in 2010, she played the formidable Violet Crawley, the Dowager Countess of Grantham, a character known for her biting one-liners, iron will, and old-world sensibilities. Smith’s portrayal captivated audiences, and her sharp wit became synonymous with the series’ appeal. She won multiple Emmy Awards for her role, further solidifying her place as a beloved figure in pop culture.
A New Generation Discovers Maggie SmithFor younger generations, Smith was best known for her portrayal of Professor Minerva McGonagall in the Harry Potter franchise, a role she embraced with her characteristic professionalism. Spanning seven of the eight films, her embodiment of the stern but deeply caring Hogwarts professor became iconic, making her a familiar face to millions of children worldwide. Despite the widespread fame the Harry Potter series brought her, Smith avoided the limelight, maintaining her preference for a quiet life.
Smith’s ability to command a scene—whether with a sharp glance, an icy remark, or a tender moment—made her a master of her craft. Her roles in films like Gosford Park (2001) and The Best Exotic Marigold Hotel (2011) further demonstrated her incredible range. Whether in period dramas or contemporary settings, Maggie Smith‘s performances were always memorable, elevating every project she touched.
A Lifetime of Accolades and InfluenceThroughout her career, Maggie Smith amassed many awards, including two Academy Awards, four BAFTAs, three Golden Globes, and four Emmys. In addition to these honours, she was made a Dame Commander of the Order of the British Empire in 1990, and in 2014, she was appointed to the Order of the Companions of Honour for her contributions to the arts.
Smith’s dedication to her craft was matched only by her humility and sense of humour. Despite her accolades, she famously avoided watching her own performances, once admitting in 2020 that she had never seen an episode of Downton Abbey.
Maggie Smith’s passing marks the end of an era in British entertainment, but her influence on cinema, television, and theatre will be felt for generations.
Smith leaves behind two sons, Chris Larkin and Toby Stephens, both accomplished actors, and five grandchildren.
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During the London Spanish Film Festival, Fred Film Radio caught up with the co-directors María G. Royo and Julia de Castro on their blisteringly original wild trip of a road movie “On the Go“.
They shared how they deeply connected over the idea of an homage to 1980s movie “Corridas de alegría” while sat in a tax office, not least because it looked like a lot of fun was had making it. Staying true to the original, they shot on 16mm despite everyone telling them not to, needing to develop their own non-conventional methodology to make it work, often only shooting one take and only being able to see what they’d filmed days later.
We discussed the idiosyncratic voice of the feature, which Royo described as exploring the “fertile space between delirium and surrealism”, often shifting seamlessly between realism and fairytale-like otherworldliness, moments of tragedy and absurd humour, dealing with sex, relationships and queer identity in rebellious, fun and frank terms.
They further explained how they found a key thread for the film was the common ground the two shared about ambivalence and uncertainty about motherhood, with their two differing perspectives, presented in a raw, irreverent and playful way, creating the central conceit of the film. The movie also emerged as an ode to friendship, particularly intergenerational friendship, which isn’t often shown on screen.
Finally, they gave us a sneak peek into the epic and varied soundtrack, which featured both local artists and the likes of Nina Kravitz, and their hope to find distribution in and collaborate with the UK on productions in future.
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On the opening night of the 20th anniversary of the London Spanish Film Festival, Fred Film Radio spoke with Laura Jou about her second feature, the psychological thriller “Free Falling” or “Caída Libre“.
The director shared how her jumping-off point was her central character of Marisol, a woman who wears a mask both literally in the per cent make-up she wears and figuratively, a veneer of strength hiding intense vulnerability and insecurity.
She explained how she worked to craft the gymnast-turned-coach along with her actress Belén Rueda, both inside and out in terms of her look and also her inner conflicts, as well as casting Ukranian Mariia Netavrovana, a gymnast who, although had no acting experience or Spanish language skills, was perfect for the part of Angelica.
We further discussed the importance of the striking visuals, colours and sound design in the film, which add to the tense atmosphere, and the role of symbols and metaphors.
Jou expressed her desire for viewers to see past Marisol’s tough exterior to see the journey she takes toward redemption and self-acceptance through the movie, raising questions about societal pressures on women to look, age, behave and succeed in particular ways, often with dire consequences.
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On the second night of the 20th edition of London Spanish Film Festival, Fred Film Radio spoke with the creators of “Birds Flying East” or “Pájaros“, director Pau Durà and producer David Ciurana.
The filmmakers shared how the feature not only follows a physical road trip across Europe but an interior one, as two seemingly opposite individuals both clash and find connection, run away from and face their pasts.
Durà spoke about how, although the feature is not autobiographical, it is informed by his own position in life, and his desire to unpack themes around parenthood, ageing and death but with humour and lightness, through “anti-heroic”, flawed characters. The creative duo also explained how they brought together their central trio, Javier Gutiérrez, Luis Zahera and Teresa Saponangelo, and the fun they had on set, particularly with the comedic scenes. And while the shoot across borders presented endless challenges, it was also key to the storytelling.
Finally, they expressed their wish that audiences find hope in humanity in their film, despite its tragic moments.
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Today, during the press conference, the rich program of the 22nd edition of Alice nella Città was unveiled. The festival will take place in Rome from October 16 to 27, 2024, parallel to the Rome Film Festival. Directed by Gianluca Giannelli and Fabia Bettini, Alice nella Città continues to focus on younger generations, showcasing a selection of films that reflect a strong commitment to emerging talent and debut works while also paying tribute to renowned cinema masters.
The International Competition: Showcasing the Best Films for YouthThe program‘s core will be the international competition, featuring 14 films offering a diverse snapshot of contemporary cinema, with 8 directed by women. Among the standout titles is A Real Pain by Jesse Eisenberg, which sensitively and humorously explores intergenerational trauma within the Jewish community, with Kieran Culkin in the leading role. Another highly anticipated film is Under the Volcano by Damian Kocur, Poland’s Oscar entry for Best International Film, which delves into familial guilt amidst the conflict in Ukraine.
The competition continues with When We Were Sisters by Lisa Brühlmann, a touching work that explores the bond between sisters and motherhood through an unconventional female narrative. Rita is the surprising directorial debut of Paz Vega, a moving reflection on gender violence seen through the eyes of a child. When the Light Breaks by Rúnar Rúnarsson is an emotional journey that deals with the search for love and beauty in pain. Flow by Gints Zilbalodisis a modern fairy tale without dialogue, exploring the themes of brotherhood and abandonment.
A scene from “Flow” by Gints ZilbalodisSpecial Screenings: Coppola, Scott, and Great Auteur CinemaAmong the most anticipated events is a tribute to Francis Ford Coppola, who will be a festival guest with a dedicated retrospective and a special event co-produced with the Rome Film Festival. Coppola will present his highly anticipated Megalopolis, a majestic epic that examines modern America, marking one of the year’s most exciting cinematic events.
Another homage will be paid to Ridley Scott, featuring the screening of his first short film, The Boy and the Bicycle. These two events underscore Alice nella Città’s commitment to connecting young audiences with international cinema masters, inspiring them to explore new creative horizons.
Nathalie Emmanuel as Julia Cicero and Adam Driver as Cesar Catilina in Megalopolis. Photo Credit: Courtesy of LionsgatePanorama Italia: A Spotlight on Independent Italian CinemaThe Panorama Italia section offers a platform for independent Italian cinema, with a selection of 7 films in competition and 4 out of competition. Opening the section is Nomore Trouble by Tommaso Romanelli, which focuses on the autobiographical account of the author’s father’s disappearance at sea. One of the standout films is Sur Un Fil, the directorial debut of actor Reda Kateb, which will close the festival with a touching story of redemption set in the world of circus performers.
Additionally, restored documentaries Vito e gli Altri by Antonio Capuano and Dino Risi‘s classic Il Giovedì, restored in 4K, will be screened to celebrate the centenary of actor Walter Chiari‘s birth.
Womenlands: Celebrating Female ExcellenceThe festival pays special attention to female excellence with the Womenlands project, honouring three outstanding actresses: Rossy De Palma, Pedro Almodóvar‘s muse; Paz Vega; and Matilda De Angelis. The award recognizes their artistic talent, social impact, and ability to serve as role models for younger generations.
TV Series and Short Films: Bridging Generations and New NarrativesThe festival doesn’t forget television series, with much-anticipated premieres like La Legge di Lidia Poët, featuring Matilda De Angelis as Italy’s first female lawyer, and The Bad Guy, with Luigi Lo Cascio in dual roles as a judge and a mafioso. Noteworthy is also Nudes, which addresses the sensitive topic of revenge porn, and Never Too Late, a futuristic story set in Sardinia in 2046.
Finally, Alice nella Città renews its focus on short films with the Short Film Days, a three-day industry event that promotes networking among film professionals. The Onde Corte section will feature 40 short films selected for their bold exploration of new languages and contemporary issues.
The 2024 edition of Alice nella Città confirms itself as one of Italy’s most important cinematic events, skillfully blending fresh new cinema with the wisdom of seasoned masters. Through its rich and varied program, the festival serves as a space for intergenerational and linguistic exchange, inspiring audiences and supporting future cinema.
The post Alice nella Città 2024: Among New Talents and Cinema Masters appeared first on Fred Film Radio.
At Kinótico, on the occasion of our special coverage of the San Sebastian Film Festival, in collaboration with FRED Film Radio, we talked to Adam Elliot, director and screenwriter of “Memoir of a snail“.
The Australian director is premiering in Zinemaldia right after the film won the last edition of Festival de Annecy, the most important recognition for an animation film in the film festival world.
Oscar winner in 2004 with his short film “Harvie Krumpet“, Adam Elliot competes in the Perlak section where “Memoir of a snail“ is one of only two animation films. The other one competing for the audience award is a US production, “The Wild Robot“.
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At Kinótico, on the occasion of our special coverage of the San Sebastian Film Festival, in collaboration with FRED Film Radio, we talked to Audrey Diwan, director of “Emmanuelle” and the actresses Noémie Merlant y Chacha Huang.
The film is competing for the Golden Shell at the Festival and it is opening its 72nd edition.
It is Audrey Diwan’s first time competing for the biggest prize in San Sebastián after participating as a member of the jury in the 2021 edition, one year after winning a Golden Lion in Venice for “L’événement“.
Noémie Merlant is well known to SSIFF as she already presented, among others, the following films: “Portrait of a Lady on Fire” by Sciamma, “The innocent” by Louis Garrel and “One Year, One Night” by Isaki Lacuesta
It is instead the first time in San Sebastián for Spanish actress Chacha Huang.
The artists talk about their surprising decision of revisiting an erotic cinema classic by giving it a contemporary look and a feminist approach.
The post “Emmanuelle”, interview with director Audrey Diwan and actresses Noémie Merlant and Chacha Huang appeared first on Fred Film Radio.
Today, September 20, 2024, during a press conference at the Teatro Olimpico in Rome, the full program of the 19th edition of the Rome Film Fest was unveiled, set to take place from October 16 to 27, 2024. This year, the event celebrates the centenary of the birth of Marcello Mastroianni, one of the greatest icons of Italian and international cinema, with a retrospective and an official image depicting him on the set of Federico Fellini’s masterpiece, “8½.”
Over the years, the Rome Film Fest has become a landmark in the international landscape, thanks to a carefully curated selection that attracts cinephiles, industry professionals, and big-screen stars worldwide every year. With a mix of world premieres, masterclasses, and special screenings, this 19th edition promises to deliver strong emotions and high-level cinematic insights.
Poster of the Rome Film Fest 2025
Foto-di-Gideon-Bachmann-©-Archivi-Cinemazero-ImagesSections of the Fest: An Overview of the Most Anticipated FilmsThis year’s program is particularly rich, featuring six official sections that range from crowd-pleasers to experimental works by emerging directors. Here are the details of the main sections:
- Progressive Cinema Competition – Visions for the World of Tomorrow
The festival’s most prestigious competitive section, the Progressive Cinema Competition, hosts 18 international films exploring visions of the future, reflecting on the challenges and hopes of the contemporary world. This section includes fiction films, documentaries, and animations.
Among the most anticipated titles are:
- “100 Litres of Gold” by Teemu Nikki is a Finnish tragicomedy mixing family rivalries and local traditions.
- “L’albero” by Sara Petraglia is a delicate Italian debut exploring the anxieties and hopes of a young generation searching for identity.
- “Bring Them Down” by Christopher Andrews is a rural drama set in Ireland, starring Christopher Abbott and Barry Keoghan, depicting the complexities of family relationships in a bucolic context.
- “Greedy People” by Potsy Ponciroli is a grotesque noir that pays homage to the Coen brothers, featuring one of their favourite actors, Tim Blake Nelson, along with Lily James and Joseph Gordon-Levitt.
A scene of “Bring Them Down” by Christopher AndrewsThe films in the competition will be evaluated by a jury of international cinema and culture professionals, who will award prizes in categories such as Best Film, Grand Jury Prize, Best Director, Best Screenplay, as well as acting awards like the Monica Vitti Award for Best Actress and the Vittorio Gassman Award for Best Actor.
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FreestyleThis non-competitive section offers a showcase for free-format and style works, from feature films to music videos and video art to television series. It celebrates creative and experimental freedom, including titles such as:
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“Arsa” by the duo MASBEDO is a film set on Stromboli that combines image and word in a unique and visually powerful narrative.
- “Grand Theft Hamlet” by Pinny Grylls and Sam Crane is a brilliant and original reinterpretation of Shakespeare’s Hamlet set within the “Grand Theft Auto” video game, blending classic theatre with pop culture.
- “Cì Xīn Qiè Gǔ (Pierce)” by Nelicia Low – A psychological thriller showcasing a complex relationship between two fencing-obsessed brothers based on a true story.
- “Ciao Bambino” by Edgardo Pistone – Another Italian debut set in the challenging Neapolitan neighbourhood of Rione Traiano, following young Attilio, tasked with protecting a young prostitute with whom he develops a secret emotional bond.
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“Marko Polo” by Elisa Fuksas – An experimental work blending cinema and autobiography, where director Elisa Fuksas confronts her family and cultural heritage, addressing personal themes like illness and relationships.
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Grand PublicDedicated to the general audience, this section presents internationally appealing films for a wide audience. Among this year’s premieres are:
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“The Dead Don’t Hurt” by Viggo Mortensen – a refined feminist western set in 19th-century America, featuring Mortensen himself and Vicky Krieps. Mortensen will receive a Lifetime Achievement Award at the film’s presentation.
- “Modì” by Johnny Depp, who will also receive a Lifetime Achievement Award at the festival. The film depicts 72 hours in the life of painter Amedeo Modigliani, played by Riccardo Scamarcio, alongside a star-studded cast including Al Pacino and Luisa Ranieri.
- “Fino alla Fine” by Gabriele Muccino – an action movie that blends thriller and existential reflection. Set in Palermo, the film follows Sophie, a young American on vacation, who becomes embroiled in a dangerous plot with a group of local friends.
- “Longlegs” by Osgood Perkins – a supernatural thriller blending investigation and horror, directed by Anthony Perkins’ son. Nicolas Cage plays a disturbing serial killer nicknamed “Longlegs” in an investigation that uncovers dark mysteries and a complex psychological plot.
- “We Live in Time” by John Crowley chronicles ten years in the life of a couple brought together by chance (or accident) with Florence Pugh and Andrew Garfield.
Andrew Garfield and Florence Pugh in “We Live in Time”4. Best of 2024This section brings together some of the season’s best films, already presented and acclaimed at major international festivals. It allows Roman audiences to see award-winning films from around the world, contributing to the global dimension of the Fest.
5. Special ScreeningsThe Special Screenings section will find out-of-competition films, tributes, and works celebrating cinema personalities and significant anniversaries. Among them is the screening of the highly anticipated “Megalopolis” by Francis Ford Coppola, which will be presented on October 14 in its Italian premiere at the Cinecittà Studios as a pre-opening event of the Fest.
6. Cinema HistoryFinally, the Cinema History section offers a selection of restored classic films, honouring directors and actors who have marked the history of the seventh art. This year, the most significant tribute will be to Marcello Mastroianni, with a series of screenings dedicated to his most iconic films and documentaries and exhibitions throughout Rome.
Pre-opening in collaboration with Alice nella CittàA special event awaits film fans with the pre-opening of the Rome Film Fest and Alice nella Città, which will take place on October 14, 2024, at the historic Cinecittà Studios. During this occasion, “Megalopolis,” the latest masterpiece by director Francis Ford Coppola, will be screened in its Italian premiere. The event will also be streamed live from the Sala Petrassi at the Auditorium Parco della Musica, allowing a wider audience to attend the presentation.
The following day, on October 15, Coppola will meet with the juries of Alice nella Città, film school students, and the public. During this meeting, the director will reflect on the highlights of his extraordinary career, sharing thoughts on cinema and future projects.
The full program is available here.
FRED Film Radio will closely follow the 19th edition of the Rome Film Fest with daily updates, exclusive red-carpet interviews, insights into competing films, and behind-the-scenes access to masterclasses with international guests. Stay tuned so you don’t miss a moment of this unmissable celebration of cinema.
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In her controversial documentary “Russians at war”, the Canadian-Russian documentarist and reporter Anastasia Trofimova follows soldiers and medics on the front lines of Russia’s invasion of Ukraine.
Trofimova claims she filmed the Russian battalion over seven months without Moscow’s permission.
In the film, we see soldiers struggling with the mismanagement of the Russian armed forces. Some express doubts about the war and question their roles in it even as they proceed to follow orders and assert their patriotism.
Trofimova sais that focusing on, and humanizing Russian soldiers is a way to combat further anger and violence.
The post “Russians at war”, interview with director Anastasia Trofimova appeared first on Fred Film Radio.
Carlo Chatrian has been appointed today as the new Director of the National Museum of Cinema in Turin – Fondazione Maria Adriana Prolo. His five-year term marks an important milestone for the prestigious Turin-based institution.
The Museum’s Management Committee unanimously supported Chatrian’s appointment, recognizing his strategic vision and extensive international experience as the ideal qualifications to lead the institution in the coming years. His clear outlook on the future of the Museum, combined with his vast knowledge of the cinematic world, made him the perfect candidate for this role.
Carlo Chatrian’s Statement“I welcome this new adventure with enthusiasm,” said Carlo Chatrian. “I can’t wait to start working with the Museum staff and to support their expertise and professionalism by putting to the service of this institution, which I feel close to, the knowledge gained in years of working abroad and the passion that has always driven me.“
A Thank You to Domenico De GaetanoThe Committee expressed its heartfelt thanks to Domenico De Gaetano, the former Director, for successfully leading the Museum through complex times. De Gaetano increased visitor numbers and transformed the institution into an internationally recognized cultural hub.
Carlo Chatrian’s Career PathBorn in Turin in 1971, Carlo Chatrian built a career as a writer, journalist, and film programmer. He collaborated with prestigious film magazines and institutions in Italy and abroad. Chatrian held key positions at major festivals, including the Locarno Film Festival (2012-2018) and the Berlinale (2020-2024), becoming a leading figure in European cinema.
The National Museum of Cinema in Turin, one of the world’s most important, enters a new phase under Chatrian’s leadership. It aims to strengthen its role as a cultural hub, embracing new cinematic languages and fostering international dialogue.
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At the 81st Venice International Film Festival, Justin Kurzel presents, in competition, “The Order“.
With Jude Law as lead actor and co-producer, the film is based on the book The Silent Brotherhood by Kevin Flynn and Gary Gerhardt, a chronicle of the rapid rise and fall of a group of disaffected young white men.
Producer Bryan Haas and screenwriter Zach Baylin came across this provocative story and got inspired by a real-life terror plot led by Robert Jay “Bob” Mathews, a longtime member of the neo- Nazi group Aryan Nations.
Justin Kurzel, who had impressed the producing team pair with his talent for visual storytelling in the 2021 Cannes Film Festival Palme d’Or nominee “Nitram“, was asked to direct after a conversation with lead actor and producer Jude Law.
The director points out that, even though it is a film that follows the rules of the thriller genre, “family is the theme that plays through all the characters”.
The post “The order”, interview with director Justin Kurzel and screenwriter Zach Baylin appeared first on Fred Film Radio.
“I Will Revenge The World With Love – S.Paradjanov” by Zara Jain is dedicated to the centenary of the birth of the world’s freest and most famous artist, filmmaker and incarcerated man. One of his most important messages is that, regardless of global chaos and geopolitical intrigue, we should all continue our work without becoming instruments of a harmful reality. Paradjanov’s story is proof of this truth, and for today’s artists it can serve as inspiration and guidance towards the only winning choice. we talked with the director Zara Jian and the consultant Joel Chapron, last collaborator of Paradjanov.
Interpreting the concept of freedom through Paradjanov’s artFor Zara Jian, constructing “I Will Revenge The World With Love – S.Paradjanov” was aimed at interpreting the theme of human freedom under conditions of unfreedom, when freedom is limited both by the borders of the totalitarian state and by the barbed wire surrounding the prison camp, as Paradjanov did for much of his life.
An inspiration and symbol for every generation of filmmakersIn her film, Zara Jian shows how the inspiration for creativity, inner freedom, and the use of art to fight and overcome abuse is a lesson that has taken root in the minds of many filmmakers of all generations, backgrounds and genres. In the interviews collected, which are more confessions and tributes than interviews, all or filmmakers honour Paradjanov for this, from Atom Eoyan to Emir Kusturica to Tarsem Singh.
The post “I will revenge this world with love – S. Paradjanov”, interview withe the dorector Zara Jian and consultant Joel Chapron appeared first on Fred Film Radio.
Ben Chaplin is one of the lead characters of the film “September 5” by Tim Fehlbaum, based on the media reaction and live coverage of the first ever terrorist attack to be shown on tv, at the Munich Olympics of 1972. Chaplin is the experienced producer that is the moral conscience of the team, more concerned about the people behind the news than the news itself. Ben Chaplin is also in awe of the director of the film that managed to keep the narrative tight and realistic.
A good man, at least in that situtationBen Chaplin talks about his character and even if he comes out as the thoughtful and the most grounded one, he is not sure that this was his nature. He met people and talk with former colleagues that testify he was a man with a temper, sometime rough but on this specific unexpected and unprecedented situation he showed to be able to keep calm and to look at the bigger picture.
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In “Possibility of paradise”, the Serbian Filmmaker Mladen Kovačević (“4 years in 10 minutes”, “Merry Christmas Yiwu”, “Another Spring” ) follows 7 different people at a turning phase of their life. They all have in common the fact that they live in the same country, in Indonesia, but this information is not unveiled in the film: we are supposedly in what, at a first sight, incarnates the western idea of Paradise, a tropical island. Instead, we’re in Purgatory, waiting for Paradise, and finding out that things are not what we expected.
Mladen Kovačević explains that the inspiration for the documentary comes from the Divina Commedia. The seven stories correspond to the seven circles – called “cornici”- of the Purgatory. They are introduced by a prologue in which a group of little girls at school wait for the rain to stop. They are the only characters belonging to the island and the only ones who live into the present. The others are all foreigners, following a dream, searching the perfect spot to turn a page, between what’s left and what will come next.
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With the beginning of the full-scale invasion in 2022, Olha Zhurba started to film the war as archive footage. It was chaos, they were living apocalyptic times and nobody was thinking of the future.
After the Ukrainian troops liberated some of the regions and the Russians were blocked, Olha Zhurba tells that in a way, people started to adapt to the war, to continue living and resist. She also adapted: she continued to film but she started to think to what kind of film that materials could become. That’s when “Song of slow burning earth” become the idea of a film. Filming was for Olha also a way to continue to do something that was belonging to the previous life, to ground her and give a sense to daily life in times of war.
Anna, one of the main protagonists, did not hesitate to be part of the film. She trusted Olha, she felt they were the same. She says” You trust the person, and then you trust the process“.
The post “Songs of slow burning earth”, interview with the director Olha Zhurba and the protagonist Ganna Vasyk appeared first on Fred Film Radio.
In an impactful conversation, Türker Süer, the director of “Edge of Night“, Orizzonti Extra, delves into the inspiration and thematic richness of his compelling film.
Türker Süer Explores the Challenges of Family and Personal LoyaltyThe narrative centers on Sinan, a young lieutenant in the Turkish army, who faces a heart-wrenching decision when he is asked to hand over his brother Kenan to a military court. Set against the backdrop of a politically charged environment and following the tragic death of their father, the film explores the intense dynamics of brotherhood and loyalty amidst societal pressure.
From Social Anger to Family Dynamics: The Inspirations Behind Edge of NightSüer reveals that the initial impetus for the story came from a deeply troubling event he encountered involving the destruction of graves in Eastern Turkey. “I read about angry citizens knocking over tombstones, believing the deceased to be terrorists. This incident haunted me,” he explains. The mayor’s warning that such hatred could cost society its humanity resonated with Süer, igniting a desire to explore themes of anger, distrust, and the complexity of human relationships within a repressive environment. “I was intrigued by how emotional turmoil and societal pressures reflected on individuals’ lives” he notes.
The film captures the nuanced relationship between Sinan and Kenan, highlighting the struggles they face as they confront the expectations imposed upon them by their society. “Loyalty becomes a central theme in the film,” Süer states. “I wanted to examine whether it is possible to be loyal to family and to oneself in a context where conflicting loyalties arise.” This exploration is not just about the bond between brothers but also serves as a broader commentary on the societal structures that shape their realities.
The narrative unfolds in a way that immerses the audience in the psychological conflicts faced by Sinan as he grapples with his conscience while upholding his duty to his family. “It was important to portray the duality of the characters’ experiences — to highlight how external factors can complicate personal relationships,” Süer explains. This complexity adds depth to their motivations and choices, prompting the audience to empathize with the difficult dilemmas the brothers encounter.
Visual Aesthetics and Emotional Tension: The Psychological Journey of Sinan and KenanVisually, “Edge of Night” employs a striking aesthetic that amplifies the emotional intensity of the story. Süer worked closely with director of photography Matteo Cocco to create a vivid atmosphere that captures both the beauty and the tension of their surroundings. “Our goal was to reflect the internal struggles of the characters while immersing the audience in the moment,” he reveals. The lighting and composition serve as metaphors for the instability and uncertainty pervading both the familial relationships and the political climate.
As the film progresses, the tension escalates, ultimately leading to a critical moment during a coup that tests Sinan’s convictions. Süer notes, “The situation forces both brothers to confront their beliefs and decide what sacrifices they are willing to make.” This pivotal confrontation not only highlights the personal stakes for Sinan and Kenan but also reflects the broader societal issues facing individuals who must navigate their positions in a politically charged environment.
Throughout the filmmaking process, Süer focused on the authenticity of the characters’ experiences. “Casting was key to bringing the story to life” he emphasizes, noting the importance of working with actors who could embody the emotional depth of their roles. This approach allows for genuine performances that resonate with viewers and convey the film’s themes effectively.
In conclusion,”Edge of Night” serves as a poignant examination of brotherhood, loyalty, and the consequences of societal pressures. Through Türker Süer’s insightful direction and the emotions embedded in the narrative, the film invites audiences to reflect on their own experiences with loyalty, love, and the struggles faced in challenging environments.
The post “Edge of Night”, interview with Director Türker Süer appeared first on Fred Film Radio.
John Swab presented his film “King Ivory” in the Orizzonti Etra sectiomn of the Venice International Film Festival. The film is about the tragedy that is decimating the young population in the United States: the spread of fentanyl. Many films have been made on the subject, but “King Ivory” takes a different, non-judgmental, non-moral, but objective and transversal look at all the people overwhelmed by this scourge, from consumers to families to the police trying to contain it. We talked with the director John Swab and the actor James Badge Dale.
I wanted a contemporary film, almost an instant movieJohn Swab wanted to create a film that could not be seen as a thing of the past, he wanted “King Ivory” to be immediate, in the present, and very personal too. Hence the style: hand-held camera, almost reality TV, and many non-actors (real policemen, real drug dealers, real junkies).
This is a true independent filmJames Badge Dale is proud of the work he did with John Swab. for him, the character is not just a cop and not just his point of view in the film, the film is almost voyeuristic in the way we see what happens and how the stories intertwine. The film is shot in real time and this is the strength and difference with other films on the same theme.
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Valentina Martelli is the founder and CEO of ITTV Forum, a film and tv festival that promotes Italy as a creative and innovative system for the world’s most important content market, and underlines the importance of technology in the creative and productive process for any production in the world, fostering collaborations and coproductions.
Two panels in Venice to prepare for the LA meetingsITTV Forum has organised two panels at the Venice Film Festival, to confront on important topics, in preparation to the LA meetings in November. The first one was a conversation on the topic of the Rise of Women in the TV and Film Industry. The second focused on immersive futures, with a discussion on the transformative role of immersive realities
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“September 5” by Tim Fehlbaum narrates the days of the terroristic attack to the Munich Olympics, from the point of view of the sport tv crew that was forcibly the first ever to face a situation like this on tv. That day marked a turning point for television and for the way and rules of showing news on TV. With a fast-paced, almost reality TV rhythm, the film also tackles this issue from the personal and moral point of view of the producer of the TV programme and the reporters.
The form of the film was born out of a conversationTim Fehlbaum says that “September 5” as we see it was born out of a conversation he had with Geoff Mason, the editor-in-chief who was in the studio in Munich on that day in 1972, and how they had to deal with those 22 incredible and tragic hours.
A single space and place help hold the narrative tensionFor Tim Fehlbaum, the point of view of the TV crew was the best to use for storytelling: a single space in which all the action unfolds automatically creates a superior rhythm and narrative tension; in addition, working in the media world made it easier for him to be at ease and be certain of the veracity of what he was telling.
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After premiering the first chapter in Cannes, Kevin Costner is at the 81st Venice Film Festival with “Horizon: An American Saga – Chapter 2″.
Presented out of competition, “Horizon” is the story Costner have been dreaming to direct since 1988 when he first thought about it.
At the heart of the saga is the story of the great migration across America. The struggles, determination and perseverance of those first settlers into that promise of hope and the opportunity for a new future.
The director reveals how he had always planned for the saga to be presented in each chapter, to a big festival as the fest audience has always been the best at understanding such a project.
Venice Film Festival was the festival he presented “Fandango” to and while the American audience did not fully embraced the film, the cinephile crowd in Venice was stunned and gave the film its heart.
What are the elements distinguishing Costner’s western saga from other films of the same genre? Costner doesn’t hesitate when answering : “I think movies are at their best when you see characters you can relate to. What’s unusual about this Western is that in all the storylines women are at the center”
The post “Horizon: An American Saga – Chapter 2”, interview with director Kevin Costner appeared first on Fred Film Radio.
Welcome to our daily insights from the 27 Times Cinema.
The 2024 edition of 27 Times Cinema will bring together ten former participants to serve as the jury for the GdA Director’s Award, marking the tenth anniversary of this accolade.
Together with their jury president, these former 27 Times Cinema participants will evaluate the films in competition with a fresh perspective, informed by their diverse experiences across various film-industry fields.
The post 8min of 10 27 Times Cinema – Isabella Weber – 4th September appeared first on Fred Film Radio.
Welcome to our daily insights from the 81. Venice International Film Festival.
Join us as we dive into exclusive interviews with filmmakers, actors, and festival insiders, uncovering the stories behind the most anticipated films.
Stay tuned for festival highlights, red carpet moments, and behind-the-scenes glimpses that you won’t want to miss.
Whether you’re a film buff or just curious, we’ve got all the excitement from Venice right here!
The post Venice Film Festival English Daily – 4th September appeared first on Fred Film Radio.
Interview during the 81st edition of Venice International Film Festival with Athina Rachel Tsangari, director of the film “Harvest”, and actor Caleb Landry Jones. The production, in competition in Venice Film Festival 2024, is an adaptation of the novel from author Jim Crace.
In their interview with FRED Film Radio, our guests told us thay they didn’t want to deliver a message to the audience, although they think that the movie talks about the lack of action that human beings show in facing threats against their way of life. The director revealed that Landry Jones was wearing the same boot he wore in the film during the interview.
“Harvest” takes us to a remote village -located in an unknown place, living in an undefined time- in which peasants live freely and enjoy their connection with nature. Suddenly a group of strangers arrive and they face the threat of an invasion. Alongside that, a mysterious man tries to draw a map of the land.
The Harvest – Athina Rachel Tsangari and Caleb LAndry JonesThe post “Harvest”, interview with director Athina Rachel Tsangari and actor Caleb Landry Jones appeared first on Fred Film Radio.
Welcome to our daily insights from the 27 Times Cinema.
The 2024 edition of 27 Times Cinema will bring together ten former participants to serve as the jury for the GdA Director’s Award, marking the tenth anniversary of this accolade.
Together with their jury president, these former 27 Times Cinema participants will evaluate the films in competition with a fresh perspective, informed by their diverse experiences across various film-industry fields.
The post 8min of 10 27 Times Cinema – Esmée van Loon – 3rd September appeared first on Fred Film Radio.
The Venice Production Bridge day in 4 minutes!
Welcome to our Venice Production Bridge Daily Snapshot, your quick 4-minute update on the latest happenings at the industry hub of the Venice Film Festival!
Join us as we delve into the world of film financing, co-productions, and market trends, bringing you exclusive insights, interviews with industry professionals, and behind-the-scenes highlights, all packed into a brief but informative segment.
Whether you’re a film professional or an enthusiast, stay connected with the pulse of the Venice Production Bridge right here!
The post The Venice Production Bridge day in 4 minutes – 03/09 appeared first on Fred Film Radio.
Welcome to our daily insights from the 81. Venice International Film Festival.
Join us as we dive into exclusive interviews with filmmakers, actors, and festival insiders, uncovering the stories behind the most anticipated films.
Stay tuned for festival highlights, red carpet moments, and behind-the-scenes glimpses that you won’t want to miss.
Whether you’re a film buff or just curious, we’ve got all the excitement from Venice right here!
Venice Film Festival English Daily – Gaetano MaiorinoThe post Venice Film Festival English Daily – 3nd September appeared first on Fred Film Radio.
Interview during the 81st edition of Venice International Film Festival with Tilda Swinton and Julianne Moore, actresses in the film “The Room Next Door”. This movie by Pedro Almodóvar, in competition in Venice Film Festival 2024, tells us about the friendship of two women that face death and the influence of the past in their future choices.
In their interview with FRED Film Radio, Swinton and Moore speak about how Pedro Almodóvar shoots his films. They got along really well and were very surprised about the velocity of the Spanish director’s work. Our interviewees think that American audiences are going to welcome Almodóvar’s first feature film in English.
“The Room Next Door”, by the renowned author of “Women at the Verge of a Nervous Breakdown” or “Talk to Her”, that supposed for him a triumph at the Oscars, is going to be released in Spain next October, and will be present in San Sebastián and New York Film Festival, where will figure as centerpiece.
The post “The Room Next Door”, interview with actresses Tilda Swinton and Julianne Moore appeared first on Fred Film Radio.
Welcome to our daily insights from the 27 Times Cinema.
The 2024 edition of 27 Times Cinema will bring together ten former participants to serve as the jury for the GdA Director’s Award, marking the tenth anniversary of this accolade.
Together with their jury president, these former 27 Times Cinema participants will evaluate the films in competition with a fresh perspective, informed by their diverse experiences across various film-industry fields.
The post 8min of 10 27 Times Cinema – David Bakum – 2nd September appeared first on Fred Film Radio.
Welcome to our daily insights from the 81. Venice International Film Festival.
Join us as we dive into exclusive interviews with filmmakers, actors, and festival insiders, uncovering the stories behind the most anticipated films.
Stay tuned for festival highlights, red carpet moments, and behind-the-scenes glimpses that you won’t want to miss.
Whether you’re a film buff or just curious, we’ve got all the excitement from Venice right here!
Venice Film Festival English Daily – Steven RaphaelThe post Venice Film Festival English Daily – 2nd September appeared first on Fred Film Radio.
Welcome to our daily insights from the 81. Venice International Film Festival.
Join us as we dive into exclusive interviews with filmmakers, actors, and festival insiders, uncovering the stories behind the most anticipated films.
Stay tuned for festival highlights, red carpet moments, and behind-the-scenes glimpses that you won’t want to miss.
Whether you’re a film buff or just curious, we’ve got all the excitement from Venice right here!
Angelo Acerbi for the English Daily program from the 81. Venice International Film Festival!The post Venice Film Festival English Daily – 1st September appeared first on Fred Film Radio.
Welcome to our daily insights from the 27 Times Cinema.
The 2024 edition of 27 Times Cinema will bring together ten former participants to serve as the jury for the GdA Director’s Award, marking the tenth anniversary of this accolade.
Together with their jury president, these former 27 Times Cinema participants will evaluate the films in competition with a fresh perspective, informed by their diverse experiences across various film-industry fields.
The post 8min of 10 27 Times Cinema – Gregor Valentovic – 1st September appeared first on Fred Film Radio.
The Venice Production Bridge day in 4 minutes!
Welcome to our Venice Production Bridge Daily Snapshot, your quick 4-minute update on the latest happenings at the industry hub of the Venice Film Festival!
Join us as we delve into the world of film financing, co-productions, and market trends, bringing you exclusive insights, interviews with industry professionals, and behind-the-scenes highlights, all packed into a brief but informative segment.
Whether you’re a film professional or an enthusiast, stay connected with the pulse of the Venice Production Bridge right here!
The post The Venice Production Bridge day in 4 minutes – 01/09 appeared first on Fred Film Radio.
The Venice Production Bridge day in 4 minutes!
Welcome to our Venice Production Bridge Daily Snapshot, your quick 4-minute update on the latest happenings at the industry hub of the Venice Film Festival!
Join us as we delve into the world of film financing, co-productions, and market trends, bringing you exclusive insights, interviews with industry professionals, and behind-the-scenes highlights, all packed into a brief but informative segment.
Whether you’re a film professional or an enthusiast, stay connected with the pulse of the Venice Production Bridge right here!
The post The Venice Production Bridge day in 4 minutes – 31/08 appeared first on Fred Film Radio.
Interview during the 81st edition of Venice International Film Festival with Paprika Steen and Nikolaj Lie Kaas, actors in the series “Families like ours”. The production by Thomas Vinterberg, out of competition in the Series section, tells how the Danish Goverment decides to evacuate the whole country because of the risk of a great flood. In that context, a family tries to make the right decissions.
In their interview with FRED Film Radio, Steen and Kaas tell us that playing a role in a television series is not very different that a job in a movie. They depict Vinterberg as a director that can detect the truth in the members of his cast, and confirm that every actor in Denmark wants to work with him.
“Families like ours” reunites the Academy Award winner –with “Another round“– with Steen, 25 years after “Celebration“. The series deals with the topics of climate change, immigration and the moral debate that every individual must face in front of such a lifetime crisis.
The post “Families like ours”, interview with actors Paprika Steen and Nikolaj Lie Kaas appeared first on Fred Film Radio.
Welcome to our daily insights from the 27 Times Cinema.
The 2024 edition of 27 Times Cinema will bring together ten former participants to serve as the jury for the GdA Director’s Award, marking the tenth anniversary of this accolade.
Together with their jury president, these former 27 Times Cinema participants will evaluate the films in competition with a fresh perspective, informed by their diverse experiences across various film-industry fields.
The post 8min of 10 27 Times Cinema – Victor Courgeon – 31th August appeared first on Fred Film Radio.
Interview during the 81st edition of Venice International Film Festival with Sophie Wilde, actress in “Babygirl“. The movie, in competition for the Golden Lion, tells the story of a businesswoman – played by Nicole Kidman– that starts a relationship submission with an intern, played by Harris Dickinson. Sophie Wilde plays one of Kidman’s colleagues at work, that warns her about this situation.
Our interview with Sophie Wilde addresses the presence of the film in Venice and how was it shooting such powerful scenes alongside Nicole Kidman. She also talks to FRED about the momentum of her career: she has starred in Danny Philipou and Michael Philipou‘s “Talk to me” and the miniseries “Tom Jones“.
As we explained, in “Babygirl” a high-power CEO puts her career and family at risk when she begins this torrid affair with her newest intern. Her marriage to a successful theatre director (Antonio Banderas) is at stake. Sophie Wilde discusses how much sacrifice women in power must endure in order to maintain their jobs and fulfill their wishes.
The post “Babygirl”, interview with the actress Sophie Wilde appeared first on Fred Film Radio.
Welcome to our daily insights from the 81. Venice International Film Festival.
Join us as we dive into exclusive interviews with filmmakers, actors, and festival insiders, uncovering the stories behind the most anticipated films.
Stay tuned for festival highlights, red carpet moments, and behind-the-scenes glimpses that you won’t want to miss.
Whether you’re a film buff or just curious, we’ve got all the excitement from Venice right here!
The post Venice Film Festival English Daily – 31th August appeared first on Fred Film Radio.
Welcome to our daily insights from the 27 Times Cinema.
The 2024 edition of 27 Times Cinema will bring together ten former participants to serve as the jury for the GdA Director’s Award, marking the tenth anniversary of this accolade.
Together with their jury president, these former 27 Times Cinema participants will evaluate the films in competition with a fresh perspective, informed by their diverse experiences across various film-industry fields.
The post 8min of 10 27 Times Cinema – Dimosthenis Kontes – 30th August appeared first on Fred Film Radio.
Global Critics Venice VoiceEvery day from the Venice Lido, Rita Di Santo hosts in the studios of FRED Film Radio several film critics who will comment on the films in Competition and Out of Competition, the actors and actresses attending the festival, as well as take you into the magical atmosphere of the Venice Film Festival.
The post Highlights and film critics from the 81th Venice Film Festival – episode 30/08 appeared first on Fred Film Radio.
Welcome to our daily insights from the 81. Venice International Film Festival.
Join us as we dive into exclusive interviews with filmmakers, actors, and festival insiders, uncovering the stories behind the most anticipated films.
Stay tuned for festival highlights, red carpet moments, and behind-the-scenes glimpses that you won’t want to miss.
Whether you’re a film buff or just curious, we’ve got all the excitement from Venice right here!
The post Venice Film Festival English Daily – 30th August appeared first on Fred Film Radio.
“Beetlejuice Beetlejuice“, opening film of the 81st Venice International film festival, reunites on the big screen the Deetz family: Oscar nominee Winona Ryder (“Stranger Things“, “Little Women“) as Lydia Deetz and two-time Emmy winner Catherine O’Hara (“Schitt$ Creek“, “The Nightmare Before Christmas“) as Delia Deetz.
With Michael Keaton returning to his iconic role, the film adds new cast members like Justin Theroux (“Star Wars: Episode VIII – The Last Jedi“, “The Leftovers“).
Winona Ryder admits: “There’s so much heart in this movie and it’s a walk through this Garden of imagination that is Tim’s brain”.
“Going back made us feel that our characters actually existed” reflects Catherine O’Hara when talking about her feelings in playing Delia Deetz again since 1988.
“Beetlejuice Beetlejuice” will come out in cinemas on September 5th, 2024.
The post “Beetlejuice Beetlejuice”, interview with actors Winona Ryder, Catherine O’Hara and Justin Theroux appeared first on Fred Film Radio.
Oscar-nominated, singular creative visionary Tim Burton and Oscar nominee and star Michael Keaton reunite for “Beetlejuice Beetlejuice“, the long-awaited sequel to Burton’s award-winning “Beetlejuice“.
“Beetlejuice Beetlejuice“ is the opening film of the 81st Venice International Film Festival and besides reuniting the demon Beetlejuice with Lydia (Winona Ryder) and Delia (Catherine O’Hara) Deetz, it welcomes new characters and new cast members.
In this new adventure, Lydia has a rebellious teenage daughter, Astrid, played by Jenna Ortega, Burton’s “Wednesday“ on Netflix.
Tim Burton explains that he talked a lot over the years with Michael Keaton about doing the sequel but it was never the right time. And then it happened. Michael Keaton reveals that he wasn’t expecting the film to be so emotional and to have so much heart.
Finally, Jenna Ortega describes the beauty of imperfections in the making of the film and how the film can connect to the younger generations, as the first one did with the “Burtonian” adults of today.
The post “Beetlejuice Beetlejuice”, interview with director Tim Burton and actors Michael Keaton and Jenna Ortega appeared first on Fred Film Radio.
Sigourney Weaver is the recipient of the Golden Lion for Lifetime Achievement at the 81st Venice Film Festival. Angelo Acerbi had a conversation with the actress of the “Alien” franchise, “Ghostbusters” and “Working Girl”, and many more, about the meaning of such an award and the job of being an actress.
Many genres, never been pigeonholed in oneEven if she is known for her science fiction roles, Sigourney Weaver managed to navigate all genres, from blockbusters to small indie movies. She tells how, and why. And talks about a movie she loves a lot, “Prayers For Bobby”.
An audition for “Ghostbusters” with an unusual outcome Let’s find out from Sigourney Weaver‘s own voice how the ending fo “Ghostbusters” came from an unusual audition she did for the role she landed.
The post Sigourney Weaver, Golden Lion for Lifetime Achievement appeared first on Fred Film Radio.
Welcome to our Venice Production Bridge Daily Snapshot, your quick 4-minute update on the latest happenings at the industry hub of the Venice Film Festival!
Join us as we delve into the world of film financing, co-productions, and market trends, bringing you exclusive insights, interviews with industry professionals, and behind-the-scenes highlights, all packed into a brief but informative segment.
Whether you’re a film professional or an enthusiast, stay connected with the pulse of the Venice Production Bridge right here!
The post The Venice Production Bridge day in 4 minutes! appeared first on Fred Film Radio.
In a revealing interview, Deepak Rauniyar, the director of “Pooja, Sir,” discusses the intricate personal and social inspirations behind his film in the section Orizzonti, which is deeply rooted in his own experiences with discrimination in Nepal. Rauniyar describes “Pooja, Sir” as a “product of love,” referencing his previous work, “White Sun,” which tackled the aftermath of the civil war in Nepal. This new film continues this thematic exploration, delving into the lived experiences of marginalized communities and the urgent need for dignity and recognition.
Setting the Film Against Historical ProtestsRauniyar shares that he intentionally set “Pooja, Sir” in the same locations where significant protests occurred during the political upheaval of history in 2007 and 2015.
During these demonstrations, hundreds of thousands of people took to the streets to demand federalism and equal rights, risking their lives for the basic necessities of dignity and justice. By anchoring his film in these real-life events, Deepak Rauniyar underscores the importance of storytelling in fostering empathy and understanding among different communities.
Collaboration and Diverse PerspectivesCollaboration plays a crucial role in Rauniyar‘s process. His partnership with Asha Magratti, who contributed significantly to the film, adds depth to the narrative. They come from different backgrounds, with Magratti identifying as part of a light-skinned community while Rauniyar aligns himself with populations that face discrimination. This difference enriches the storytelling, as they seek to convey a message that transcends their individual experiences. Rauniyar emphasizes that much of the film’s narrative is inspired by both their lives, showcasing how gender inequality and societal norms have impacted them personally and collectively.
Portrayal of Women and Gender DisparityOne of the central themes of “Pooja, Sir” is the portrayal of women in Nepal. Rauniyar highlights how uneven representation in films and media often neglects the struggles that women face daily. He reflects on Asha’s encounters with gender disparity during her upbringing, noting how she was denied the same educational opportunities as her brother, who received preferential treatment. This dynamic mirrors broader societal views in Nepal, where gender roles are rigidly defined, often preventing women from realizing their potential.
Through the character of Asha, Rauniyar passionately depicts the challenges faced by women trying to navigate their identities and roles in a patriarchal society. Despite her aspirations to be viewed as a “son” following the loss of her brother, Asha was continually met with resistance and discrimination. Rauniyar notes that these struggles are not just individual stories; they reflect systemic issues deeply entrenched within their culture.
Addressing Marginalization and StereotypesThe filmmaker intricately weaves these themes into “Pooja, Sir,” showcasing a society where misunderstandings lead to discrimination. Rauniyar articulates the belief that people from more privileged communities often view marginalization through the lens of stereotypes and propaganda, failing to grasp the realities faced by others. He hopes that by engaging audiences with these narratives, they will develop empathy and reconsider their perceptions of marginalized groups.
To ensure authenticity in “Pooja, Sir,” Rauniyar dedicated significant time to research, conducting interviews over several years with various individuals, including police officers. This extensive groundwork informs the film’s representation of social issues, grounding it in the realities of lived experiences. While some elements of the film are fictionalized for narrative effect, Rauniyar insists that the heart of the story remains embedded in true events and personal histories.
In conclusion, Deepak Rauniyar frames “Pooja, Sir” as a cinematic endeavor that goes beyond mere storytelling; it’s an exploration of empathy, identity, and social justice. By giving voice to the disenfranchised and challenging societal norms, the film aims to resonate with audiences not just in Nepal but globally. Rauniyar’s vision is to use cinema as a transformative tool that can spark conversations about discrimination, equality, and the complexities of human experience. For those intrigued by these themes, “Pooja, Sir” promises to be a thought-provoking film that encourages viewers to reflect upon their own perceptions of identity and social justice.
The post “Pooja, Sir,” Interview with Director Deepak Rauniyar appeared first on Fred Film Radio.
At the 81th Venice Film Festival, Fred Film Radio interviewed Sandra Maischberger, the producer of “Riefenstahl”, a documentary directed by Andres Veiel featured Out of Competition. A fascinating look into the private archive of Leni Riefenstahl, who rose to world fame with her Nazi propaganda film “Triumph of the Will”, but who always denied any close ties to the regime.
Why a documentary about Leni Reifenstahl?It’s incredible how Leni Riefenstahl, what she represents and her work are more relevant today than ever. And how his figure remains an enigma for a long time, especially due to his connection with Nazism which he tried to minimize for years. “Leni Riefenstahl died many years ago, but her husband passed away in 2017, and there was this house full of documents, films, tapes, whatever she left behind”, tells Sandra Maischberger. “And I knew that I could get a hold on this estate. I met her many years ago doing an interview, and I could feel that she was lying. But now with the estate, I can prove it”.
Andres Veiel, the right man to tell this storyLots of archive material to deal with and a complex figure to tell in all its complex nuances. Why is Andres Veiel the right person to direct “Riefenstahl”? “For two main reasons. First, he did Beuys, which is a brilliant documentary about Josefh Beuys, an artist. And already there he had to cope with a lot of material, with a lot of things which are not moving, papers and evidence and so on. And he did it brilliantly, and I thought he’s the best choice for this film. And then secondly, you deal with Leni Riefenstahl. She is a master director and created images which are still prevailing today. So you cannot just put someone to make a simple documentary telling the story. It must be an artwork by itself”.
A crucial moment of our historyFrom the United States to Europe far right movements have found fertile ground in the last few years also because of the many Riefenstahl of the world? “That was one of the questions we had to answer because her aesthetics is still here”, tells Sandra Maischberger . “The question we had to answer is, if the aesthetic is here, maybe as well the ideas behind it. So are we facing a time where fascism, nationalism, imperialism is coming back? And this is my feeling about the time we’re living in. I think that we are in a crucial moment of history and I don’t want to go back to where we already have been looking at Leni Riefenstahl and what the Nazis did. So it’s a film about a historical person but at the same time it’s a film about what’s going on, what could become in the future for us, in Europe especially”.
The post “Riefenstahal”, interview with producer Sandra Maischberger appeared first on Fred Film Radio.
Welcome to our daily insights from the 27 Times Cinema.
The 2024 edition of 27 Times Cinema will bring together ten former participants to serve as the jury for the GdA Director’s Award, marking the tenth anniversary of this accolade.
Together with their jury president, these former 27 Times Cinema participants will evaluate the films in competition with a fresh perspective, informed by their diverse experiences across various film-industry fields.
The post 8min of 10 27 Times Cinema – Chris Zahariev – 29th August appeared first on Fred Film Radio.
At the 81 Venice Film Festival, Fred Film Radio interviewed Andres Veiel, the director of “>Riefenstahl”, featured Out of Competition. A fascinating look into the private archive of Leni Riefenstahl, who rose to world fame with her Nazi propaganda film “Triumph of the Will”, but who always denied any close ties to the regime.
A detective storyWhen watching “Riefenstahl” you have the impression of watching a detective story. Did Andres Veiel feel like a detective called to solve a puzzle while working on the production of the documentary? “I think it’s the right approach for it because it gave hundreds of traces and you have to decide: ‘Okay, we follow up this trace’. And then we find another trace and then we find a proof or something. So it was like a puzzle and in the end we could create a very intimate close portrait of a fascist artist”.
Leni Riefenstahl: the director of her own lifeTo make “Riefenstahl”, Andres Veiel had to use a lot of material cataloged by the director herself. In doing so he realized that some passages of his life had been deliberately modified by Riefenstahl herself, becoming the director of her own life. “For us it was very important to understand more, not just accusing her of being a perpetrator – what she was, of course – but to understand how she became a Nazi fascist artist. And we have to go back to her youth. We could find a lot of testimonies, little notes telling about the violence of her father and violence of other men she experienced. Now, of course, this is not an excuse for her guilt, but we have to be precise, to understand her, but not to exonerate her or not to discharge her from the guilt. And this was a balance, like a title for her. We had to balance both sides. It’s very important to get a deeper insight of her character”.
Is Riefenstahl’s cinematic gaze dangerous today?In a society where right-wing political movements have found new fertile ground and where failure is not allowed, is Leni Riefenstahl’s cinematic gaze dangerous today? “When you watch footage from military parades in Russia you can discover the aesthetics of Riefenstahl. A lot is present. And also the ideology by celebrating the strongness, the male heroism, and with the contempt of the weak. That’s the ideology of fascism. And when you think about fakeness, for example, Riefenstahl is the prototype of fakeness. And it’s so present. We have a lot of politicians that just repeat lies, and the longer they repeat the lies, they really are convinced it’s the truth. And many people believe it. When you look at Riefenstahl, you will understand how fakeness is produced, and why there’s a longing for fakeness. People need them. People need lies, and that’s horrifying”.
The post “Riefenstahal”, interview with director Andres Veiel appeared first on Fred Film Radio.
Welcome to our daily insights from the 81. Venice International Film Festival.
Join us as we dive into exclusive interviews with filmmakers, actors, and festival insiders, uncovering the stories behind the most anticipated films.
Stay tuned for festival highlights, red carpet moments, and behind-the-scenes glimpses that you won’t want to miss.
Whether you’re a film buff or just curious, we’ve got all the excitement from Venice right here!
The post Venice Film Festival English Daily – 29th August appeared first on Fred Film Radio.
Global Critics Venice VoiceEvery day from the Venice Lido, Rita Di Santo hosts in the studios of FRED Film Radio several film critics who will comment on the films in Competition and Out of Competition, the actors and actresses attending the festival, as well as take you into the magical atmosphere of the Venice Film Festival.
The post Highlights and film critics from the 81th Venice Film Festival – episode 29/08 appeared first on Fred Film Radio.
Alain Delon in “La Piscine”Alain Delon, the enigmatic and undeniably handsome star of French cinema, passed away at 88. Known for his smouldering presence and captivating performances, Delon was a cornerstone of European cinema in the 1960s and 1970s, working with some of the most revered directors. His death marks the end of an era in film history, as he leaves behind a legacy that has profoundly influenced the French and international film industries.
The Rise of a Cinematic IconBorn on November 8, 1935, in Sceaux, France, Alain Delon’s early life was marked by instability. After his parents divorced, Delon’s rebellious nature saw him expelled from multiple schools. Later, a brief stint in the French Navy during the First Indochina War resulted in a dishonourable discharge. Yet, these turbulent beginnings shaped the raw intensity he would bring to his acting career.
Delon’s break into the film industry was serendipitous. In 1957, he was discovered by a talent scout at the Cannes Film Festival. Soon after, he received offers from Hollywood but chose to remain in France, where he began working with renowned directors like René Clément and Yves Allégret. His first significant role came in Clément’s “Plein Soleil” (“Purple Noon”) in 1960, where Delon’s portrayal of Tom Ripley, a cunning and murderous conman, captivated audiences and critics alike. His performance in this film would set the tone for the brooding, complex characters for which he would become famous.
Alan Delon in “Rocco and His Brothers”Collaborations with Great DirectorsThe 1960s and 1970s were the golden years of Alain Delon’s career. During this time, he collaborated with some of Europe’s most acclaimed filmmakers, solidifying his status as an international star. In 1960, Delon starred in Luchino Visconti’s “Rocco and His Brothers,” a film showcasing his ability to convey vulnerability and strength simultaneously. His performance as Rocco, a young man caught between loyalty to his family and his desires, was hailed as one of his best.
Visconti and Delon would collaborate again in 1963 on “Il Gattopardo” (“The Leopard”), where Delon played the dashing Tancredi opposite Burt Lancaster. This film, an epic tale of a Sicilian prince’s struggle to preserve his family and fortune during the Italian unification, further cemented Delon’s reputation as a leading man with depth and charisma.
Alan Delon in “Le Samouraï”Jean-Pierre Melville, the godfather of the French New Wave, also recognized Delon’s unique talent. Melville cast him as the stoic hitman Jef Costello in “Le Samouraï” (1967), a role that became one of Delon’s most iconic. His portrayal of Costello, a cold and calculated assassin, remains a defining moment in his career, blending elements of film noir with a distinctly European sensibility. Delon and Melville would continue their successful partnership in films like “Le Cercle Rouge” (1970) and “Un Flic” (1972), further exploring themes of isolation, loyalty, and moral ambiguity.
A Star Beyond BordersWhile Delon’s fame was primarily rooted in Europe, he also attempted to conquer Hollywood. However, despite his undeniable talent and good looks, he never achieved the same success in the United States as in France. His first American film, “The Yellow Rolls-Royce” (1964), performed moderately well at the box office. Still, his other ventures, including “Once a Thief” (1965) and “Texas Across the River” (1966), failed to make a significant impact.
Despite this, Delon remained a beloved figure in international cinema, particularly in Japan, where he was regarded as a Western star. His collaboration with Japanese actor Toshiro Mifune in “Red Sun” (1971) is a testament to his broad appeal and versatility.
Charles Bronson, Alain Delon, Ursula Andress and Toshiro Mifune in “Red Sun”The Complex Persona of Alain DelonAlain Delon’s on-screen personas often mirrored his real-life complexities. Known for his striking good looks, Delon was frequently compared to other male icons like James Dean and Paul Newman. However, his beauty carried a sense of mystery and danger, elements often highlighted in his roles as gangsters, assassins, and morally ambiguous characters.
Off-screen, Delon was no stranger to controversy. His involvement in the unsolved murder of his bodyguard, Stevan Markovic, in 1968 brought about a scandal that rocked French society. Although Delon was never charged, the case remains a dark chapter in his life. Additionally, his outspoken views on various social and political issues, including statements that were perceived as homophobic and racist, added to his complex and often polarizing public image.
Despite these controversies, Delon’s contributions to cinema cannot be understated. In 1984, he was awarded the César for Best Actor for his role in Bertrand Blier’s “Notre Histoire,” in which he played a middle-aged alcoholic searching for redemption. This recognition came late in his career, but it was a fitting tribute to an actor who had given so much to the art form.
Alain Delon
Copyright: (c)2017 Lucian Nuta PhotographyA Life Marked by Passion and TurbulenceAlain Delon‘s personal life was as intense and dramatic as the characters he portrayed on screen, defined by a series of passionate and often tumultuous relationships. His first significant love was the German actress Romy Schneider, whom he met in 1958 on the set of the film “Christine.” Their romance captivated the public, and they became one of Europe’s most famous couples. Despite their engagement, the relationship ended in 1963, reportedly due to Delon’s infidelity. Despite their split, both actors continued to speak fondly of each other, with Schneider’s tragic death in 1982 profoundly affecting Delon.
Following his split with Schneider, Delon had several high-profile relationships, including a notable affair with French actress Nathalie Delon. The two married in 1964 and had a son, Anthony Delon. However, their marriage was short-lived, ending in divorce in 1969.
Delon’s later relationships included a long-term romance with Mireille Darc, another iconic French actress from the late 1960s until the early 1980s. Darc, often described as Delon’s “soulmate,” remained a significant figure in his life even after their separation. In the following years, Delon also had relationships with model Rosalie van Breemen, with whom he had two children, Anouchka and Alain-Fabien, and the renowned French-Italian singer Dalida.
A Lasting LegacyAlain Delon’s influence on cinema is undeniable. His work has inspired generations of actors and filmmakers, and his films continue to be celebrated for their style, substance, and emotional depth. Even in his later years, Delon remained a figure of fascination and respect. In 2019, he was awarded an honorary Palme d’Or at the Cannes Film Festival, recognizing his enduring impact on the film world.
Delon’s legacy also lives on through his children, Anthony, Anouchka, and Alain-Fabien, who were by his side in his final moments. In recent years, Delon had suffered from declining health, including a stroke in 2019, but he remained a towering figure in the world of cinema until the very end.
The post Alain Delon: The Mesmeric French Icon of Cinema, Dies at 88 appeared first on Fred Film Radio.
At the Locarno Film Festival, Fred Film Radio interviewed Ramon and Silvan Zürcher, the director and producer of “The Sparrow in the Chimney”, featured in the International Competition. This film marks the conclusion of their Animal Trilogy, a series that delves into family dynamics with a unique blend of lightness and darkness.
The animal trilogy
The Zürcher brothers began their Animal Trilogy with “The Strange Little Cat” in 2013, followed by “The Girl and the Spider“. “The Sparrow in the Chimney” concludes this thematic journey. “We saw that these three films are like siblings,” Ramon explains. The trilogy explores formal and thematic contrasts, such as the interplay between static and dynamic elements, a recurring motif throughout their work. In this final instalment, the film evolves from the static portrayal of family life into a story of liberation, both thematically and in the movement of the camera.
Themes of liberation“The Sparrow in the Chimney” portrays a family navigating dysfunction, with the story gradually unfolding into a fairytale-like liberation. The presence of animals, particularly those capable of flight, symbolizes this theme. Silvan notes, “These animals are important for the liberation story,” emphasizing the symbolic role of sparrows, butterflies, and fireflies.
Collaborative processAs brothers, Ramon and Silvan Zürcher have a dynamic working relationship. Silvan Zürcher describes their collaboration as fluid, with roles shifting depending on the project. While Ramon Zürcher directed and wrote “The Sparrow in the Chimney“, Silvan produced it, maintaining a partnership that allows for open conflict and resolution. “We speak out our disagreements,” says Silvan, likening their creative disputes to a catalyst that propels the project forward.
Character developmentKaren, the film’s central character, embodies the film’s exploration of transformation. Ramon Zürcher designed her as two distinct characters: the first Karen, static and reserved, contrasts sharply with the second, more liberated Karen. This duality is mirrored in the film’s overall structure, which moves from order to chaos, reflecting Karen’s internal journey.
Contrasts in setting and styleThe Zürcher brothers are drawn to contrasts, both in character dynamics and cinematic techniques. They juxtapose a serene, idyllic setting with underlying tensions and dark, passive-aggressive family interactions. The film’s contrast between light and darkness, order and chaos, mirrors the characters’ psychological landscapes, creating a rich, layered viewing experience.
The post “The Sparrow in the Chimney”, interview with Ramon and Silvan Zürcher appeared first on Fred Film Radio.
At the Locarno Film Festival, Fred Film Radio spoke with director Laurynas Bareiša about his film “Drowning Dry”, which is in competition at the festival. The film centres around a family vacation that takes a dark turn after a near-tragic event, exploring themes of trauma and its lingering effects.
Exploring trauma and its aftermath“Drowning Dry” draws from Laurynas Bareiša‘s personal experience with his child, who nearly choked in a close call that left a lasting impact. “Even though nothing happened, that ‘nothing’ is still an event,” Bareiša explains. He wanted to delve into how an almost tragedy can subtly yet profoundly alter relationships and self-perception. The film uses this concept to explore how people grapple with the emotional ripples of events that didn’t fully materialize.
Symbolism of Dry DrowningThe title “Drowning Dry” works on both literal and metaphorical levels. In the film, one of the characters almost drowns, leading to a condition that mirrors the emotional state of the other characters. “It’s a metaphor for relationships,” Laurynas Bareiša says, highlighting how couples and individuals can appear fine on the surface but are silently struggling, “drowning” in their inability to communicate or connect. The metaphor extends to societal issues, such as overconsumption and environmental disregard, illustrating how people continue harmful behaviors despite knowing the consequences.
Challenging the audienceLaurynas Bareiša is committed to challenging his audience, believing that cinema should provoke thought and evoke new emotions. “You have this one and a half hours with the audience; it’s valuable time,” he notes. His goal is to create a film experience that can’t be easily reduced to simple explanations but instead leaves a lasting impression, even if it’s uncomfortable. He emphasizes the power of cinema to merge narrative, structure, visuals, and sound into something uniquely impactful.
Cultural and linguistic challengesAs a Lithuanian filmmaker, Laurynas Bareiša faces challenges in maintaining his cultural identity while reaching an international audience. Originally titled Seses, “sisters” in Lithuanian, the film was renamed“Drowning Dry” for its international release to better convey its layered themes. “Through translation, you lose some things, but you can also gain something,” he explains, acknowledging the complexities of presenting a culturally specific story to a global audience.
Laurynas Bareiša‘s “Drowning Dry” is a thought-provoking exploration of trauma, memory, and the hidden struggles within relationships. By drawing from personal experience and challenging both himself and his audience, Bareiša has crafted a film that resonates on multiple levels, leaving viewers with much to ponder long after the credits roll.
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At the Locarno Film Festival, FRED Film Radio caught up with actress Callie Hernandez and director Courtney Stephens to discuss their film Invention, which is showcased in the Cineasti del Presente section. The film, an experimental fiction piece, delves into the complexities of grief following the loss of a father, blending multiple genres to explore this deeply personal subject.
Origins and developmentThe idea for Invention began when Hernandez and Stephens decided to collaborate while working in Western Massachusetts. Both had recently lost their fathers, and this shared experience became the foundation for the film. The film evolved from personal archives, particularly those from Callie Hernandez‘s late father, which included strange medical machines and stories that shaped the narrative.
Intimate collaborationWith a small cast and crew, the production process fostered an intimate atmosphere, allowing the team to adapt and respond to the moment. Hernandez describes the experience as “almost like we were all staying in the house, cooking up what we would shoot the next day.” The fluid nature of the project meant that the team often had to rethink their approach on the fly, making editing a crucial part of the storytelling process. This collaborative, improvisational method added a unique texture to the film, blending real-time creativity with the emotional weight of the subject matter.
Emotional and practical challengesOne of the most significant challenges, according to Hernandez, was balancing the emotional weight of the film with the practical limitations, particularly financial constraints. The lack of resources, however, ultimately contributed to the film’s raw and genuine feel. Courtney Stephens noted that the small budget forced them to be resourceful, leading to a project that is dense and complex, despite its seemingly simple appearance. She reflected on the value of working under these conditions, drawing inspiration from filmmaker Marguerite Duras, who appreciated the challenge of making films that seemed “impossible.”
Reflections on grief and filmmakingBoth Callie Hernandez and Courtney Stephens found the process of making Invention to be an exploration of not only grief but also filmmaking itself. Stephens, who had primarily worked in nonfiction, discovered new challenges in directing actors and shaping a narrative that was deeply personal yet collaborative. The film became a collective effort, with everyone involved contributing their own experiences and ideas to the final product.
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FRED Film Radio had the pleasure of speaking with director Ben Rivers about his latest film Bogancloch, which is competing at the Locarno Film Festival.
Introduction to “Bogancloch”Ben Rivers describes Bogancloch as a film set in the Scottish Highlands centred around his friend Jake Williams, who lives in the midst of a vast forest. The film spans a year in Jake’s life, blending different levels of reality to explore his existence in a remote and unspoiled environment.
Returning to Jake’s storyThis is not Ben Rivers‘ first film about Jake. He explains that his continued interest in Jake’s way of life and the changes over the past decade compelled him to create another film. “I still find his life very fascinating, and I felt like there was more to do there, more to see and hear,” Rivers says, noting the allure of Jake’s unique lifestyle.
A Distinctive filmmaking approachBen Rivers‘ approach to filmmaking is unconventional, blending reality with fictional elements. He emphasizes that Bogancloch is not a traditional documentary: “I’m not interested in telling people facts about his life or any backstory. It’s more open for the audience to think about why he’s there and what his past was.”
Every scene in the film was carefully set up and rehearsed, making it a collaborative effort between Rivers and Jake, which blurs the line between observer and participant.
Filming experienceThe filming process was as unique as the film itself. Ben Rivers visited Jake five times over a year, with some days dedicated to intense shooting and others spent walking, thinking, and planning. “It’s not a normal film shoot. It’s a bit more relaxed,” he explains.
Challenges and rewardsDespite the challenges of harsh weather and Jake’s lack of modern conveniences, Rivers found the experience rewarding. “When I look at the footage and see that it was worth freezing and getting soaking wet… that’s very rewarding,” he shares.
Lessons from JakeOver the years, Jake has taught Rivers the value of living a life with minimal impact on the world. Reflecting on what he’s learned from Jake, Ben Rivers concludes, “It’s about trying to live a life that has less impact on the world and as little harm to other people, animals, and plants as possible.”
Bogancloch is a film that challenges conventional documentary filmmaking, offering audiences a chance to immerse themselves in a world that is as much about feelings and imagination as it is about the subject’s reality. Rivers’ thoughtful approach to the film, combined with his deep connection to Jake, creates a cinematic experience that invites reflection and introspection.
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At the Locarno Film Festival, FRED Film Radio interviewed Irish director Aislinn Clarke about her film Fréwaka, showcased Out of Competition. The film, a deeply Irish horror story, explores generational trauma through the lens of folklore and superstition, set against the eerie backdrop of the Irish countryside.
A Love for HorrorAislinn Clarke’s passion for horror is evident in Fréwaka. Raised on a steady diet of horror films, she finds the genre comforting and a way to channel anxiety. “Horror films have rules, and we understand they’re not real,” she explains, viewing them as a controlled escape from the chaos of the world. For Clarke, horror is a universal genre that resonates with audiences everywhere, despite cultural differences.
Exploring Irish TraumaFréwaka delves into Ireland’s dark history, particularly its unspoken traumas passed down through generations. Aislinn Clarke sees horror as a tool to confront social issues in a non-confrontational way, allowing audiences to engage with difficult topics through the safety of narrative. The film draws heavily on Irish myths, particularly the Na Sí, malevolent fairy folk from Irish folklore. “They’re not cute like Tinkerbell; they’re vengeful and brutal,” Clarke notes, making them the perfect vehicle to explore the deep-seated traumas of Irish history.
Influences and SettingWhile Aislinn Clarke didn’t consciously model Fréwaka after specific films, she acknowledges the influence of folk horror classics like The Wicker Man. The rural Irish setting plays a crucial role in the film, with the main location—a previously unused period house on the border of Northern and Southern Ireland—adding to the film’s unsettling atmosphere. Clarke describes finding the house as a moment of “fate,” perfectly aligning with the film’s themes.
A Story of Irish WomenFréwaka focuses on female characters, a deliberate choice by Clarke to highlight the unique traumas faced by Irish women. Despite the small pool of fluent Irish-speaking actresses, Clarke found the perfect cast to bring her vision to life. The film, shot entirely in Irish, was a natural fit for Clarke, who wanted to use the language to explore the cultural and historical weight carried by Irish women.
Aislinn Clarke hopes Fréwaka resonates with audiences beyond its Irish roots, believing that horror’s universal appeal will allow viewers from all cultures to connect with the film. While she’s not exclusively a horror director, Clarke’s love for the genre and its ability to address dark, complex themes suggests that her future projects will continue to explore the shadows of the human experience.
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At the Locarno Film Festival, FRED Film Radio interviewed director César Díaz and actress Bérénice Bejo about their film Mexico 86, featured in the Piazza Grande section. This film tells the story of a revolutionary woman who, after fleeing Guatemala, reunites with her son in Mexico ten years later. Together, they navigate their strained relationship amidst the backdrop of political unrest.
Personal and Political ThemesMexico 86 is deeply rooted in César Díaz‘s personal experiences, particularly his relationship with his mother. “I wanted to explore motherhood and the mother-son relationship,” Díaz explains, noting the challenge of merging an intimate family story with broader political themes. The film also addresses the struggle against dictatorship, a subject close to Díaz’s heart.
Challenges in PortrayalFor Bérénice Bejo, playing María—a character inspired by Díaz’s mother—was challenging, especially due to the language barrier and the complexity of the role. “The first challenge was the language,” Bejo says, adding that working with a child actor also required patience and adaptability. Despite these hurdles, she found a deep connection with her character, attributing it to the trust and collaboration she shared with Díaz. “I didn’t even try to play his mother—it just happened naturally,” she recalls.
Balancing Emotion and DirectionCésar Díaz faced the challenge of directing a film so close to his own life. “Sometimes I was very moved, but I had to remember that it’s not because I was moved that the audience will be,” he reflects. He worked closely with the actors to create a space where they could fully embrace their characters. The film also explores the legacy of motherhood, with María’s relationship with her own mother influencing her as a mother to Marco.
A Collaborative JourneyThe making of Mexico 86 was a challenging yet rewarding experience for Díaz and Bejo. “We were far away from our country, our family, so every day we had to do our best,” Bejo says. Despite the difficulties, their collaboration resulted in a film they are deeply proud of.
Mexico 86 is a powerful narrative that explores motherhood, revolution, and the impact of the past on the present. Through their collaboration, César Díaz and Bérénice Bejo have created a film that challenges audiences to reflect on both historical and contemporary struggles.
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At the Locarno Film Festival, we had the opportunity to speak with Lotfi Achour, director of Red Path (Les Enfants Rouges), a film competing in the Cineasti del Presente section. The film, inspired by a tragic real-life event, delves into the psychological and emotional journey of a young boy facing unimaginable trauma.
A Journey Through Tragedy and DreamsRed Path draws inspiration from a harrowing event in Tunisia in 2015, where jihadist groups attacked two adolescent shepherds, resulting in the death of one and the other being forced to carry his head back to his family. Lotfi Achour describes the film as not merely a recounting of terrorism but a deep exploration of the young boy’s inner world. “The film is not about terrorism; it’s about the inner journey of this 14-year-old child and how he has to refer to all the mechanisms of childhood, psychological, and dreamy, to face this tragedy and survive it,” he explains.
The Impact of the Real EventLotfi Achour was profoundly moved by the real-life event, which he felt was more than just a crime—it was a national trauma. “The crime is quite odious, not an ordinary crime, especially because it involved children,” he says. He highlights that this event was unprecedented in Tunisia, where such violence against children was unheard of. “The nature of the crime, asking a child to carry a head in a bag, almost refers to mythological figures,” Achour reflects. He believes this crime became a collective trauma, deeply affecting the Tunisian national consciousness.
Creating a Dreamlike ExperienceThe film’s dreamlike quality is central to its narrative approach. Lotfi Achour and his team aimed to blend realism with dreamlike elements to reflect the boy’s psychological state. “We wanted it to be the simplest possible and most natural possible… there are sequences that were realistic and then which became, as the writing went on, they shifted into a form of nihilism,” Achour describes.
Working with the Young ProtagonistAchour’s approach to working with the young actor was meticulous and compassionate. He invested nearly a year in preparation, including workshops and dialect training, to ensure the actor could connect with the role authentically. “The main actor, at 13 years old, lived very close to the reality depicted in the film… he had personal experiences that mirrored the film’s themes,” Lotfi Achour notes. Despite the intense demands of the role, Achour praises the actor’s professionalism and resilience. “He shot 41 days out of 42, 12 hours a day… he was very overwhelmed emotionally but managed to handle the role with great maturity.”
A Timely MessageAs Red Path competes in the Cineasti del Presente section, Lotfi Achour hopes it will resonate on a global scale. He reflects on the film’s release amid ongoing global conflicts, particularly the plight of children in Gaza. “I hope that my film will be a small drop of water to draw attention to violence against children,” Achour says. He expresses a desire for the film to contribute to discussions about the broader implications of such violence, emphasizing that “when we attack children, it’s a whole generation that will be lost.”
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Fred Film Radio sat with Mar Coll, the visionary director behind Salve Maria, a psychological thriller that competes at this year’s Locarno Film Festival. The film dives deep into the complexities of motherhood, examining the darker emotions that often go unspoken.
A Journey into the Dark Corners of MotherhoodSalve Maria centers on a young mother, a writer, struggling to bond with her newborn. Her life takes a disturbing turn when she becomes obsessed with a nearby infanticide case, fearing she might succumb to similar thoughts. Mar Coll explains that the film, co-written with her close friend and fellow mother, aims to expose the darker aspects of motherhood that are rarely discussed, capturing the ambivalence that accompanies this life-changing experience, there is “always a little bit of darkness when you become a mother, and that’s what’s interesting because it’s not often said.”
Balancing Personal Experience with FictionWhile Salve Maria is an adaptation of a novel, Mar Coll reveals that her personal experiences as a mother deeply influenced the film. Salve Maria offers an honest portrayal of the loneliness and fear that can accompany new motherhood but also leaves room for hope. “We wanted to communicate emotions that have been in our experience,” she adds, noting that the ambivalence of motherhood—its mix of good feelings, love, and attachment alongside darker emotions—was a central theme in the film.
The Power of GenreColl chose the psychological thriller genre to tell Maria’s story, recognizing its perfect fit for the visceral, irrational journey of early motherhood. “Motherhood at the beginning has all this irrational journey for the mother… it’s so visceral and physical,” she explains. The genre allowed Coll to explore the intense physicality of pregnancy and breastfeeding, as well as the overwhelming fear and guilt that can arise.
The Role of Setting and AtmosphereSalve Maria‘s setting plays a crucial role in conveying Maria’s emotional state. The claustrophobic, dark house where much of the film takes place symbolizes her sense of entrapment and isolation. “The characters feel trapped in this place that is small,” Mar Coll explains, noting that they even made adjustments to the set to enhance this feeling, such as building additional walls and reducing the size of windows. As the story progresses, the open landscapes reflect Maria’s internal struggle as she confronts her darker impulses, moving towards a more primal connection with nature.
The Decision to Shoot in 35mm Mar Coll opted to shoot Salve Maria on 35mm film to create a delicate, sensitive, and visually stunning narrative. This choice enhances the film’s immersive quality, helping viewers empathize with a character who struggles with unsettling emotions. “I wanted the film to be moving, delicate, and sensitive, and also beautiful,” she explains.
What Audiences Can ExpectColl hopes that Salve Maria will be an immersive experience for viewers, drawing them into the emotional journey of its protagonist. “At first, I don’t want them to think—just to get into the film,” she says, emphasizing the importance of the emotional experience. She acknowledges that the film’s ending is controversial and may provoke debate, particularly around societal expectations of motherhood and what is considered “normal.” “The ending is a little bit scandalous because of what is normal and what is not,” Mar Coll remarks, noting that the film is already sparking conversations about these themes. Ultimately, she hopes the film will inspire discussions that challenge conventional perceptions of motherhood and its complexities.
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At the Locarno Film Festival, Stacey Sher, a renowned producer behind iconic films like Pulp Fiction and Erin Brockovich, received the prestigious Raimondo Rezzonico Award. In an insightful interview, Sher reflects on her illustrious career, the changing film industry, and the future of cinema.
The 90s: Defining a Decade of CinemaStacey Sher’s early works, including Pulp Fiction and Get Shorty, played a pivotal role in shaping American cinema in the 90s. “It was fun,” she recalls of the time, though she admits, “neither of those movies were particularly easy to get made. We weren’t expecting to still be talking about them now.”
Bringing Generational Stories to the ScreenStacey Sher also produced generational touchstones like Reality Bites and Garden State, both of which resonated deeply with their audiences. Reflecting on Reality Bites, Sher shares how the project evolved, noting, “It originally grew from a story idea—a ‘Big Chill’ for people in their 20s.” She credits Ben Stiller’s directorial debut with crystallizing the story, particularly when he decided to make his character a peer of the others rather than an older figure.
For Garden State, Sher highlights how the project was championed by Pam Abdy, then-president of Jersey Films. “Pam said, ‘This is my life. This is me.’ Our philosophy was to trust each other’s taste and back each other,” Stacey Sher explains, showcasing the collaborative spirit that defined her work.
Working with First-Time DirectorsSher has a knack for identifying and nurturing talent, having worked with first-time directors like Ben Stiller and Zach Braff. “If you choose well, a directorial debut is fun, exciting, and collaborative,” she says. Sher emphasizes the importance of supporting filmmakers as they find their voice, noting that both Stiller and Braff had honed their craft through previous work, making them ready for the challenges of directing.
A Career Built on IntuitionThroughout her career, Stacey Sher has produced a wide range of films, from Pulp Fiction by Quentin Tarantino to Out of Sight by Steven Soderbergh. When asked if there’s a common thread in her work, she reflects, “I’ve made very intuitive decisions based on what I love, which is informed by the films and filmmakers I grew up loving.” Sher’s intuitive approach and deep love for cinema have resulted in a body of work that continues to impact the industry.
The Evolving Role of Women in FilmAs one of the industry’s leading female producers, Sher has witnessed significant changes in the role of women in film. “There are definitely more of us now,” she observes, pointing to the increasing number of female executives in the industry. This shift reflects broader changes in an industry that has traditionally been male-dominated.
Looking to the Future of CinemaStacey Sher remains optimistic about the future of cinema, even as digital media and streaming services reshape the industry. “Contrary to all the obituaries that were written for the cinema, it still seems to be healthy,” she asserts. Sher believes that audiences still enjoy the theater experience, and that cinema will continue to evolve, accommodating both large-format spectacles and more intimate films.
Advice to Her Younger SelfWhen asked what advice she would give to her younger self, just starting out in the industry, Sher’s response is succinct and powerful: “Get over the need to be liked.” This advice reflects the resilience and confidence that have driven her successful career, and maybe it’s a great reminder for all of us, especially nowadays.
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At the Locarno Film Festival, we caught up with Christoph Hochhäusler, the director of “La Mort viendra (Death Will Come)“, which is in the running in the International Competition. In this gripping gangster thriller, Christoph Hochhäusler takes us on a dark journey through Brussels, where power, mortality, and vengeance intersect in unexpected ways.
Inspiration Behind the FilmThe inspiration for “Death Will Come”, Christoph Hochhäusler reveals, began with the city of Brussels itself. “I didn’t know the city until very recently,” he explains. “I was invited to go there, and I fell in love with its contrasts—the violence and beauty of this very particular town. It’s a place that’s not filmed enough, and that immediately sparked the idea of a gangster film.”
Exploring Brussels as a CharacterChristoph Hochhäusler’s approach to location scouting involved immersing himself in the city alongside his production designer. Together, they walked through Brussels, exploring its streets and discovering hidden, underused locations. This hands-on exploration allowed the city itself to become a vital character in the film.
Developing Complex CharactersChristoph Hochhäusler dives into the development of his main characters, especially Charles Mahr, who grapples with power and mortality. “One influence was my own brush with mortality,” he admits, referencing a personal health scare. “That experience, combined with my observations of powerful men’s fear of weakness, fed into Charles’ character. There’s a vanity in men that death humbles, which is a theme I wanted to explore.”
On the character of Tez, a female contract killer in a male-dominated underworldChristoph Hochhäusler explains, “We wanted her to be the opposite of Charles—an angel of death, yet a woman who is very much alive and believable. Sophie Verbeeck brought this complex, enigmatic character to life in a way that really surprised and excited me.”
Cinematic Influences behind “Death Will Come“When asked about his influences, Christoph Hochhäusler cites a rich tapestry of films and directors, including Jean-Pierre Melville’s “Le Samouraï” and “Army of Shadows“, as well as Italian cinema, ranging from Visconti to Damiani. Although these films significantly informed the tone and style of “Death Will Come“, Hochhäusler nevertheless aimed to create a film that stands on its own.
“Death Will Come” Open-Ended ConclusionWithout giving too much away, “Death Will Come” leaves its ending open to interpretation. The film encourages viewers to reflect on its themes long after the credits roll. Hochhäusler hopes the film prompts audiences to consider what might come after the era of powerful patriarchal figures, offering a rich subject for contemplation rather than a straightforward message.
“Death Will Come” is an exploration of power, mortality, and the unique atmosphere of Brussels, all brought together by Christoph Hochhäusler’s deft direction.
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At this year’s Locarno Film Festival, we sat down with Edgar Pêra, the innovative director behind “Telepathic Letters“. The film, screening Out of Competition, delves into the intricate worlds of H.P. Lovecraft and Fernando Pessoa, two of the most enigmatic literary figures of the 20th century. Through a groundbreaking use of AI-generated imagery, Pêra weaves a narrative that bridges their distinct philosophies, creating a unique cinematic experience.
From Lovecraft to Pessoa: The Genesis of Telepathic LettersEdgar Pêra began our conversation by tracing the origins of “Telepathic Letters“. “I’ve worked with the texts of Lovecraft and Pessoa before,” he explained, “and I always found connections between their thoughts on humanity. Initially, this film was meant to be a continuation of The Nothingness Club, but with the advent of AI, I saw an opportunity to create something truly unique.” By leveraging AI, Edgar Pêra could construct fantastical elements without the constraints of a traditional budget, allowing him to craft a specific universe that intertwines these two literary giants.
AI as a Tool for Low-Budget FilmmakingEdgar Pêra is candid about his embrace of AI, seeing it as a boon for filmmakers working with limited resources. “AI offers low-budget filmmakers the ability to create monsters, landscapes, and entire worlds,” he enthuses. “The process became so fluid that I was constantly generating new images, even in the final stages of editing. It’s like creating archives from the future, based on the past but reimagined in ways that never existed.”
The Philosophical Debate: AI and ‘Artificial Stupidity’In his typically provocative style, Edgar Pêra reflects on the nature of AI, dubbing it “artificial stupidity” rather than artificial intelligence. “We’re dealing with human-made databases, so it’s all human, not truly artificial,” he argues. “What fascinates me is this process of recombining elements to create something entirely new, something that feels like a forgotten piece of history.”
Crafting the Visuals: Taming the AlgorithmThe visual style of “Telepathic Letters“is distinct, partly because of Pêra’s approach to taming the AI algorithms. “I wanted to avoid the generic look of AI-generated images—the purples and blues reminiscent of Shrek or Avatar. Instead, I guided the algorithm to create something different, something more in tune with the eerie, otherworldly essence of Lovecraft and Pessoa.”
Lovecraft, Pessoa, and the Present DayWhen asked how Lovecraft and Pessoa might view our modern world and the rise of AI, Pêra offers a thoughtful response. “They were both innovators in their time, wary of novelty but also creators of it. While it’s impossible to say for sure, I believe they would be intrigued, if not entirely accepting, of how their works are being reimagined today.”
Audience Reactions: Embracing the UniqueAs for audience reactions to his “Telepathic Letters“, Edgar Pêra remains cautiously optimistic. “I’m always surprised when people like my movies,” he admits with a smile. “But the feedback so far has been incredible, and people who already saw it come to me and say, Oh, this is a very unique film.”
Telepathic Letters” is a confirmation of Edgar Pêra’s relentless creativity and his ability to push the boundaries of filmmaking. By blending the literary legacies of Lovecraft and Pessoa with cutting-edge AI technology, Edgar Pêra has crafted a film that not only honours these two literary giants but also explores new cinematic frontiers.
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The San Sebastián Film Festival’s 72nd edition, running from September 20-28, promises a compelling lineup featuring esteemed directors and promising newcomers. Renowned filmmakers Maite Alberdi, Edward Berger, Gia Coppola, Costa-Gavras, Kiyoshi Kurosawa, Mike Leigh, Diego Lerman, Joshua Oppenheimer, and François Ozon will compete for the coveted Golden Shell. Joining them are debut directors Laura Carreira and Xin Huo. The competition also includes films by acclaimed Spanish directors Iciar Bollain, Pedro Martín-Calero, Pilar Palomero, and Albert Serra.
Maite Alberdi’s Debut Feature FilmMaite Alberdi, known for her award-winning documentaries, presents her first feature-length film, “El lugar de la otra.” This true crime story is based on the life of writer María Carolina Geel, who shot her lover dead in 1955. Alberdi’s previous works include “The Mole Agent” and “The Eternal Memory,” both of which received critical acclaim and award nominations.
New Talent Laura Carreira with “On Falling”Laura Carreira’s “On Falling” portrays the precarious life of a Portuguese warehouse worker in Scotland. Carreira, who has received recognition for her short films “Red Hill” and “The Shift,” makes her feature directorial debut with this intimate exploration of loneliness and connection in the gig economy.
Gia Coppola’s Star-Studded “The Last Showgirl”Gia Coppola’s “The Last Showgirl” features a stellar cast, including Pamela Anderson, Jamie Lee Curtis, and Dave Bautista. The film follows a seasoned showgirl who must plan for her future after her show abruptly closes. Coppola, known for “Palo Alto” and “Mainstream,” continues to showcase her unique storytelling style.
Costa-Gavras Returns with “Le dernier souffle”Legendary director Costa-Gavras returns to the San Sebastián Film Festival with “Le dernier souffle.” This philosophical film explores the reflections of a palliative care doctor and a renowned writer, featuring an ensemble cast including Denis Podalydès and Charlotte Rampling. Costa-Gavras’s storied career includes classics like “Z” and “Missing.”
Edward Berger’s Intriguing “Conclave”Edward Berger’s “Conclave” delves into the secretive process of selecting a new Pope, starring Ralph Fiennes and Stanley Tucci. Following his Academy Award-winning “All Quiet on the Western Front,” Berger brings his deft touch to this tense and captivating narrative.
Edward Berger’s “Conclave”Kiyoshi Kurosawa Reimagines “Serpent’s Path”Kiyoshi Kurosawa reimagines his 1998 film “Serpent’s Path” with an international cast, including Ko Shibasaki and Mathieu Amalric. This new version, set in the suburbs of Paris, follows a man’s quest for revenge with the help of a Japanese doctor.
Mike Leigh’s “Hard Truths”* Explores Family DynamicsMike Leigh’s “Hard Truths” addresses family dynamics and mental health, starring Marianne Jean-Baptiste and Michele Austin*. Leigh, known for his keen observations of everyday life, brings his characteristic depth to this British-Spanish production.
Diego Lerman’s UFO Investigation in “El hombre que amaba los platos voladores”Diego Lerman’s “El hombre que amaba los platos voladores” investigates Argentina’s most famous UFO sighting. Featuring Leonardo Sbaraglia and Renata Lerman, the film delves into the country’s fascination with extraterrestrial encounters.
Joshua Oppenheimer’s Dystopian Musical “The End”Joshua Oppenheimer’s “The End” is a dystopian musical starring Tilda Swinton and George MacKay. Known for his powerful documentaries “The Act of Killing” and “The Look of Silence,” Oppenheimer now explores a wealthy family’s survival in a post-apocalyptic world.
Joshua Oppenheimer’s “The End”François Ozon’s “Quand vient l’automne”François Ozon’s “Quand vient l’automne” tells the story of a retired woman whose life changes after meeting a former prisoner. Ozon, a frequent participant in the festival, continues to captivate with his nuanced and emotive storytelling.
Opening Film and Spanish ProductionsOpening the San Sebastián Film Festival is Audrey Diwan’s “Emmanuelle.” Competing for the Golden Shell are Spanish productions “Soy Nevenka” by Iciar Bollain, “El llanto” by Pedro Martín-Calero, “Los destellos” by Pilar Palomero, and “Tardes de soledad” by Albert Serra. These films showcase the diversity and richness of Spanish cinema.
This year’s San Sebastián Film Festival showcases a diverse array of films that promise to captivate audiences and highlight the extraordinary talent of both seasoned filmmakers and emerging directors.
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The 81st Venice International Film Festival will showcase the world premiere of “Horizon: An American Saga – Chapter Two,” directed by and starring the Academy Award-winning Kevin Costner. This premiere will take place on Saturday, September 7, alongside the screening of “Horizon: An American Saga – Chapter One.”
A Cinematic Journey Across the American West“Horizon: An American Saga” is a compelling two-part narrative that delves into the Civil War expansion and settlement of the American West. Kevin Costner, known for his visionary filmmaking, directs and stars in this epic saga, supported by a stellar cast including Sienna Miller, Sam Worthington, Jena Malone, and Danny Huston. The film promises to take audiences on an emotional journey, exploring the blood, sweat, and tears of the many who shaped the United States during the Civil War era.
A Dream Realized in VeniceKevin Costner expressed his excitement about the film’s premiere at Venice, stating, “My dream was always to show ‘Horizon: An American Saga – Chapter Two’ at the Venice Film Festival. The fact that they have decided to show Chapter One earlier in the day and then the World Premiere of Chapter Two that evening shows not only their belief in how the two films work together but their support of a director’s vision. I’m indebted to Alberto Barbera for his courage and leadership in committing to this cinematic journey. It is with gratitude and excitement that I return to the Venice Film Festival. Long live the movies and those willing to stand for them.”
Celebrating a Visionary ProjectAlberto Barbera, the artistic director of the Venice Film Festival, praised the project, saying, “It is a great pleasure and honour to host the world premiere of Chapter Two of Horizon: An American Saga, alongside its Chapter One. This late addition to the lineup of the Venice Film Festival pays a heartfelt and respectful tribute to the visionary project of a great actor and director, who invested himself in the epic reconstruction of the years crucial to the founding of the country, digging beyond myth in search of authenticity capable of restoring a piece of history in its complex and contradictory reality”
Kevin Costner: A Cinema SagaKevin Costner’s career spans decades, with notable achievements both in front of and behind the camera. From his breakout roles in “Field of Dreams” and “Dances with Wolves” to directing critically acclaimed films like “Open Range,” Costner has consistently showcased his versatility and dedication to storytelling. His return to directing with “Horizon: An American Saga” marks another significant milestone, promising a rich, immersive experience for audiences.
The premiere of “Horizon: An American Saga – Chapter Two” at the Venice Film Festival is a testament to Kevin Costner‘s lasting impact on cinema. Along with Chapter One, this film offers a powerful exploration of American history, brought to life by a talented cast and crew. The presence of Kevin Costner and the entire cast on the Lido is the icing on the cake of a truly stellar edition of the Venice Film Festival.
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Renowned British filmmaker Joanna Hogg has been named the jury president for the XXI edition of Giornate degli Autori at the Venice Film Festival. Hogg, known for her critically acclaimed films “The Souvenir” and “The Eternal Daughter,” will lead the panel in selecting the prestigious GdA Director’s Award winner. This year marks the 10th anniversary of the award, which honours one of the ten films in competition.
Once Upon a Time in SohoJoanna Hogg‘s journey in cinema began in the vibrant Soho of the 1980s, where she created Super8 videos inspired by mentor Derek Jarman. Hogg graduated with a short film starring an unknown Tilda Swinton, and since then, she has crafted a legacy with films like “The Souvenir,” “The Souvenir Part II,” and “The Eternal Daughter.” This year, she follows in the footsteps of Portuguese director João Pedro Rodríguez as jury president.
Celebrating 10 Years of GdA Director’s AwardThe GdA Director’s Award established a decade ago with the European Parliament’s “27 Times Cinema” project, grants a €20,000 prize to the winning film. This award is split between the director and the international seller, supporting the film’s promotion. Joanna Hogg, alongside ten former “27 Times Cinema” participants, will select the winning film. The jury meetings will be coordinated by Karel Och, artistic director of the Karlovy Vary International Film Festival.
Diverse Jury of Former ParticipantsThe jury comprises past “27 Times Cinema” participants, chosen from the 388 young cinephiles who have attended Venice over the years. Representing various cultures and professions within the European film community, these jurors bring a wealth of experience and passion to the table.
Joanna Hogg’s Enthusiastic Involvement“What could be more fun and stimulating than watching films and sharing ideas with a jury of young film professionals who are above all cinephiles,” said Hogg. “I thank the Giornate degli Autori for inviting me to what I anticipate will be days of joyful and inspiring discussions about cinema and its possibilities.”
Artistic Director and Delegate’s PraiseGaia Furrer, artistic director of Giornate degli Autori, expressed her excitement: “Over the course of her film career, Hogg has probed the human soul, family dynamics, and romantic attachments with great psychological depth, accuracy and a rare authenticity. Her cinema is implosive – the very word used by Martin Scorsese, who produced Hogg’s last three films, to describe the way her films often bring inconvenient and even unspeakable truths to light. I am proud to have her with us on the Venice Lido and know she’ll be an excellent guide for our young jurors.”
Giorgio Gosetti, general delegate, added, “The president’s own story, and the passion she will inject into our tenth anniversary jury, goes hand in hand with the enthusiasm of the ten other jurors, eager to return to Giornate degli Autori. Their first time around, they were budding cinephiles, many of whom had never even been to a major festival. They return in 2024 as rising young professionals in a variety of areas that make up the ‘film machine’: programmers, critics, producers, sales agents, and more. ”
The Ten Jurors David Bakum (Germany, 27 Times Cinema 2022) – Curator and organizer for XPOSED Queer Film Festival, Berlin. * Victor Courgeon (France, 27 Times Cinema 2019) – Public relations and communications manager at Cinéma Le Méliès. * Maarja Hindoalla (Estonia, 27 Times Cinema 2015) – Freelance journalist and critic, acquisitions head at the Estonian National Film Archive. * Dimosthenis Kontes (Greece, 27 Times Cinema 2018) – Sales coordinator at Pluto Film. * Amalia Mititelu (Romania, 27 Times Cinema 2020) – Art director for short films, commercials, and series by Netflix, Hulu, and Disney+. * Saulė Savanevičiūtė (Lithuania, 27 Times Cinema 2022) – Program coordinator for European Film Forum Scanorama, writer. * Esmée van Loon (Netherlands, 27 Times Cinema 2017) – Film programmer at LantarenVenster, Rotterdam. * Gregor Valentovic (Slovakia, 27 Times Cinema 2015) – Filmmaker. * Isabella Weber (Italy, 27 Times Cinema 2010) – Development executive at Kino Produzioni, freelance story editor. * Chris Zahariev (Bulgaria, 27 Times Cinema* 2020) – Director and screenwriter at Razkaz, working on his first feature film.
Joanna Hogg’s appointment as jury president highlights the unique blend of experience and youthful passion that Giornate degli Autori continues to foster, celebrating the rich diversity and talent within the European film community.
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After many years as successful producer, Robert Salerno is making his directorial debut with “Here After”, coming out in Cinemas on July 25th.
As of Italian descendants, Salerno sets his horror drama in Italy where Robin, a teenager, starts displaying a disturbing behavior after a near death experience.
Played by Freya Hannan-Mills, a new young actress to definitely keep an eye on, the protagonist has what it takes to make the audience feel extremely anxious all the time.
As the title suggests and Salerno confirms, the film, with the “Here” and “After” is a reflection on how difficult it is to live a normal life while still in a grieving process. The film protagonist, Robin’s mother, Claire, seems to really be ok with the past while instead, she never really dealt with it.
Robert Salerno is the producer of iconic films such as “21 grams” but also of horror box office hits like Smile. Considering this experience, the director explains how he played with the horror genre’s archetypes and tropes and when he gave them up in favour of drama.
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The 81st Venice International Film Festival unveiled its eagerly anticipated program today, promising an extraordinary edition featuring an impressive array of stars and significant films. The event, which runs from August 28 to September 7, continues to cement its reputation as one of the world’s most prestigious film festivals, attracting filmmakers, actors, and cinema enthusiasts from around the globe.
The Double Expansive Movement of CinemaOne of the central themes of the 81st Venice International Film Festival is what Alberto Barbera has termed the “double expansive movement” of cinema. On one hand, there is a trend towards increasingly shorter films, adapted to new digital platforms like YouTube, Instagram, and TikTok. On the other hand, there is an expansion in the length of films, with works often exceeding three hours, influenced by TV series and a desire to explore new narrative forms. “The program of the 81st Venice Film Festival offers significant examples of this double expansive movement,” Barbera stated.
81st Venice International Film Festival in NumbersThis year, the official selection includes 83 new feature films, divided among the different sections of the festival:
- 21 in the Venezia 81 (Competition) section
- 21 in the Out of Competition section (11 documentaries and 10 fiction films)
- 19 in the Orizzonti section
- 9 in the Orizzonti Extra section
- 9 in the Venezia Classici – Documentaries on Cinema section
- 4 in the Biennale College – Cinema section
Additionally, there will be 17 short films and 5 TV series, including four high-profile series presented Out of Competition.
Hollywood Stars at the LidoThe 81st Venice International Film Festival is renowned for attracting a significant number of international celebrities, and this year is no exception. Expected stars at the Lido include Lady Gaga, Joaquin Phoenix, Julianne Moore, Tilda Swinton, Angelina Jolie, Jude Law, Daniel Craig, Nicole Kidman, Adrien Brody, Felicity Jones, Cate Blanchett, George Clooney, Brad Pitt, Monica Bellucci, Michael Keaton and Jenna Ortega.
Joker 2: Folie à DeuxOne of the most anticipated films in competition is “Joker: Folie à Deux,” the musical sequel to Todd Phillips’ 2019 hit, starring Lady Gaga and Joaquin Phoenix. Another highly anticipated title is Luca Guadagnino’s “Queer”, with Daniel Craig portraying an alter ego of William S. Burroughs, an American expatriate heroin addict living in Mexico. Notable returns to the Lido include Pablo Larraín with “Maria” starring Angelina Jolie as Maria Callas, and Pedro Almodóvar presenting his first English-language film, “The Room Next Door” starring Julianne Moore and Tilda Swinton. Director Brady Corbet also returns with“The Brutalist”, shot in 70 mm and starring Adrien Brody.
Angelina Jolie è “Maria” di Pablo LarrainAward-Winning Directors and New DiscoveriesThis year’s Venice International Film Festival selection also features numerous award-winning directors and new talents. First-time participants in the competition include:
- Ludovic Boukherma and Zoran Boukherma with “Leurs Enfants Après Eux”
- Delphine Coulin and Muriel Coulin with “The Quiet Son”
- Maura Delpero with “Vermiglio”
- Fabio Grassadonia and Antonio Piazza with “Sicilian Letters”
- Dag Johan Haugerud with “Love”
- Dea Kulumbegashvili with “April”
- Justin Kurzel with “The Order”
- Emmanuel Mouret with “Trois Amies”
- Luis Ortega with “Kill the Jockey”
- Halina Reijn with “Babygirl”
- Giulia Louise Steigerwalt with “Diva Futura”
- Yeo Siew Hua with “Stranger Eyes”
Nicole Kidman e Harris Dickinson in “Babygirl” di Halina ReijnAdditionally, six Oscar-winning directors will be present, including Pedro Almodóvar, Alfonso Cuarón, Claude Lelouch, Kevin Macdonald, Errol Morris and Thomas Vinterberg.
Auteur TV SeriesThe Venice Film Festival has also embraced the TV series format, presenting four high-profile “auteur” series:
- “Disclaimer” by Alfonso Cuarón, with Cate Blanchett and Kevin Kline
- “M. Son of the Century” by Joe Wright, with Luca Marinelli, Francesco Russo, Barbara Chichiarelli
- “The New Years” by Rodrigo Sorogoyen
- “Families Like Ours” by Thomas Vinterberg
Contemporary Themes in FilmsAlberto Barbera emphasized that the Venice International Film Festival not only celebrates cinema as an art form but also provides a platform for reflecting on the most urgent contemporary issues. Many of the films in the program address topics such as armed conflicts, climate change, migration, and the rise of populist movements. “Cinema has always been a formidable opportunity, in general, to reflect and mirror the themes related to humanity and, in particular, a mirror of contemporary issues, an open window on continuous conflicts, unresolved contradictions, emerging clashes, and unexpected tragedies looming over the beleaguered planet,” Barbera declared.
Opening and Closing EventsThe festival will open with the highly anticipated “Beetlejuice Beetlejuice” by Tim Burton, a sequel to the 1988 classic. Michael Keaton returns as the shapeshifting ghoul, joined by a stellar cast including Winona Ryder, Catherine O’Hara, Justin Theroux, Monica Bellucci, Jenna Ortega and Willem Dafoe. The closing film will be “L’Orto Americano” by Pupi Avati, a tribute to America through the eyes of an Italian.
The 81st Venice International Film Festival reaffirms its status as one of the most important and anticipated events on the global cinematic landscape. This edition not only reflects current cinema trends but also serves as a window into the world’s problems and challenges, confirming the crucial role of cinema as a tool for reflection and dialogue. Prepare for an extraordinary cinematic experience at the Lido of Venice!
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Today, July 22, 2024, the much-anticipated program for the 39th International Critics’ Week (SIC) has been revealed. The event will take place from August 28 to September 7, 2024, as part of the 81st Venice International Film Festival. This independent section, dedicated to debut films, serves as a crucial platform for new voices in global cinema.
An Introduction to the 39th International Critics’ WeekBeatrice Fiorentino, General Delegate of the SIC, emphasized how contemporary cinema mirrors our indeterminate present. “In what world do we live? In what time do we live? An indecipherable world, full of uncertainties, where it becomes difficult to orient ourselves and distinguish truth from falsehood,” Fiorentino stated, “The cinema of the present seems to follow this disorientation, the feeling of being in a moment of suspension, of waiting. The films that make up the program of the 39th International Critics’ Week… confirm the disorientation that unites us across every latitude of the planet.”
The Official SelectionThis year’s selection, curated by Beatrice Fiorentino along with the selection committee members Enrico Azzano, Chiara Borroni, Ilaria Feole, and Federico Pedroni, includes seven films in competition and two special events. The films in the competition are:
- “Anywhere Anytime” by Milad Tangshir (Italy)
- “Don’t Cry, Butterfly” by Dương Diệu Linh (Vietnam, Singapore, Philippines, Indonesia)
- “Homegrown” by Michael Premo (USA)
- “No Sleep Till” by Alexandra Simpson (USA, Switzerland)
- “Paul & Paulette Take a Bath” by Jethro Massey (UK)
- “Peacock” by Bernhard Wenger (Austria, Germany)
- “Perfumed with Mint” by Muhammed Hamdy (Egypt, France, Tunisia)
Special EventsThe SIC will open with “Planet B” by Aude Léa Rapin (France, Belgium) and close with “Little Jaffna” by Lawrence Valin (France), two out-of-competition works that promise to be highlights of the festival.
SIC@SIC Short FilmsThe SIC@SIC section, dedicated to Italian short films, features seven short films in competition and three special events:
- “At Least I Will Be 8 294 400 Pixel” by Marco Talarico (Italy)
- “Billi il cowboy” by Fede Gianni (Italy)
- “Nero argento” by Francesco Manzato (Italy)
- “Phantom” by Gabriele Manzoni (Italy)
- “Playing God” by Matteo Burani (Italy, France)
- “Sans Dieu” by Alessandro Rocca (Italy)
- “Things That My Best Friend Lost” by Marta Innocenti (Italy)
Awards and RecognitionsThe films in competition vie for several prestigious awards:
- Gran Premio IWONDERFULL (€10,000)
- Audience Award The Film Club (€3,000)
- Luciano Sovena Award (€5,000)
- Circolo del Cinema di Verona Award for the most innovative film
- Mario Serandrei – Hotel Saturnia Award for Best Technical Contribution
Additionally, all debut feature films presented in competition at the SIC are eligible for the Leone del Futuro – Venice Award for a Debut Film “Luigi De Laurentiis”, which offers a prize of $100,000.
The Official Image of the 39th SICThe official image of the 39th International Critics’ Week was created by Emiliano Mammucari, creatively produced by Mauro Uzzeo, and designed by Fabrizio Verrocchi. This year, the image reflects the uncertainty and instability of the present, proposing a vision that unites different languages such as cinema, drawing, and photography, representing a world that must start again from uncertainty.
Manifesto 39° Settimana Internazionale della Critica.The 39th SIC promises to be an event full of food for thought, offering a profound look at our time through the evocative power of cinema. Don’t miss following the updates and news of this important cinematographic event on FRED Film Radio.
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Bella Thorne is back at the Taormina Film fest, the 70th edition directed by Marco Müller with two projects.
She’s playing the lead in “Saint Clare“, second feature by US based italian director Mitzi Peirone. She’s presenting her second short film as director, “Unsettled“.
After her first work, “Paint it Red“, presented at the Taormina Film Fest last year, “Unsettled” is based on Bella’s friend Jason Parks’real story of abuse and kidnapping.
Thorne’s first feature film “Color Your hurt“, in pre-production, will be developed and based on “Unsettled“.
The actress reveals what moves her as a director and describes her state when she’s directing as “being in love”.
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The 21st edition of Giornate degli Autori, an independent section promoted by ANAC and 100autori, will take place from August 28 to September 7, 2024, as part of the Venice International Film Festival. This eagerly awaited event brings a new wave of creativity and innovation to the world of auteur cinema with a program that promises to surprise and engage audiences.
A Rich and Varied ProgramSpeaking about the program, Gaia Furrer, Artistic Director of Giornate degli Autori, previews the themes of the selection: “Our lineup is rigorous, lean, and stylistically eclectic, one that puts stories about people front and centre: their encounters, relations, breakups, and losses. It features places and environments, the majesty of which (from the Swiss Alps and the Mongolian steppes to the dunes of Colombia and tropical islands) often dominates human affairs. There are stories and reports of a world on fire, from Russia or Georgia to the Dominican Republic and Haiti and from Sudan to Ukraine and the Palestinian refugee camps in Beirut. Stories of struggling with authority without neglecting the everyday foibles of individuals who continue to love, fight, fall in love, and drift apart.”
The official selection of Giornate degli Autori 2024 includes 10 films in competition, 1 closing film out of competition, 5 special events, and 3 short films, including two as part of the Women’s Tales project and one dedicated to the 2022 winner.
This year’s competition features a variety of stories that embrace different cultures and countries. From “Taxi Monamour” by Ciro De Caro, which narrates the experiences of two women determined to live their choices independently, to “Alpha.” by Jan-Willem Van Ewijk, a psychoanalytic thriller set in the Swiss Alps. “Boomerang” by Shahab Fotouhi explores emotional bonds in modern Tehran, while “To Kill a Mongolian Horse” by Jiang Xiaoxuan moves between rural Mongolia and urban capitalism.
TAXI MONAMOUR by Ciro De CaroFemale Perspectives and InternationalityWith sixteen female directors out of a total of twenty-five titles, Giornate degli Autori celebrates the presence of women in cinema. Stories like “Selon Joy” by Camille Lugan, starring Asia Argento and Raphaël Thiéry, and “Sugar Island” by Dominican filmmaker Johanné Gómez Terrero, tackle themes of identity and liberation. Among the fiction works, “Super Happy Forever” by Kohei Igarashi and “Sanatorium Under the Sign of the Hour Glass” by the Quay Brothers offer kaleidoscopic and metaphysical visions of time and reality.
“Sugar Island” by Johanné Gómez TerreroCommitment and ReflectionThis year’s edition stands out for a new space dedicated to words and images, titled Confronti, presented by Giorgio Gosetti, General Delegate of Giornate degli Autori: “The identity of Giornate is not built solely on the search and presentation of original films and artists. Within the Venice Film Festival, we are a free space of words & images where every year we seek the compass of the present, the vision of the future, the memory of common roots. This is why we have launched the Confronti space, dedicated precisely to the otherness of our proposal, inaugurated on August 28 by a powerful and unmistakable voice like that of Tahar Ben Jelloun, to remind us that without culture and respect for the dignity of others, peace cannot return to our torn world.”
Special Events and TributesIn addition to the rich selection of films, Giornate degli Autori 2024 will offer a series of special events and tributes. Among these, a remembrance of Emidio Greco, co-founder of the section, 50 years after his debut with “L’invenzione di Morel” in 1974, and a tribute to Naples by Gaetano Di Vaio and Enzo Moscato with “Dadapolis” by Carlo Luglio and Fabio Gargano.
Special events include works like “Coppia aperta quasi spalancata”, directed by Federica Di Giacomo and starring Chiara Francini, inspired by the play of the same name by Franca Rame and Dario Fo. Additionally, the documentary “Alma del desierto” by Monica Taboada Tapia follows the journey of Georgina, an elderly transgender woman, in search of her recognized identity.
An emotional moment will be the tribute to Massimo Troisi, commemorated thirty years after the world premiere of his last masterpiece, “Il postino.” The homage, in collaboration with the Venice Film Festival and SIC, honours his artistic legacy and impact on Italian cinema.
“Coppia aperta quasi spalancata” by Federica Di GiacomoVenetian NightsVenetian Nights returns with nine feature films between fiction and documentary, produced in collaboration with Isola Edipo and presented in Sala Laguna. Among the films scheduled, standout titles include “Quasi a casa” by Carolina Pavone, a choral debut exploring the tensions and hopes of a young musician, and “La scommessa” by Giovanni Dota, a black comedy set in a hospital ward in Naples.
The 21st edition of Giornate degli Autori is a tribute to auteur cinema, a journey through stories and visions that aim to connect past, present, and future, offering an independent and innovative platform in the panorama of the Venice Film Festival. We eagerly await the start of the event to immerse ourselves in the stories, emotions, and visions that only the big screen can offer
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Israeli director Amos Gitai is back at the Taormina Film Fest after 25 years, with his new work “Shikun“.
At the 70th edition of the festival, directed from this year on by Marco Müller, Amos Gitai is introducing his film, which premiered last February at the Berlinale, to the italian audience.
Conceived and shot in Tel Aviv a while before the events of October 7th, 2024, “Shikun” in hebrew means collective housing as the film is set there, a sort of refugee building giving shelter to anyone asking for help: Israelis, Palestinians, Ukrainians
The inspiration for the film comes from Eugène Ionesco’s play “Rhinoceros“, an anti-totalitarian fable the Romanian author wrote at the end of the 50’s.
Ionesco’s words felt so contemporary to address what’s happening in his country but also in the world that Gitai asked Irene Jacob who, at the time was busy in Paris in a play based on Gitai’s own work, to come back to Tel Aviv and shot the film.
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The 77th Locarno Film Festival will honour renowned Mexican filmmaker Alfonso Cuarón, a five-time Academy Award winner, with the prestigious Lifetime Achievement Award. The festival will present this accolade, which celebrates extraordinary careers in the film industry, to Cuarón on Sunday, August 11, in Piazza Grande. On the same day, audiences will have the opportunity to engage with Alfonso Cuarón in a panel conversation at Forum @Spazio Cinema.
Alfonso Cuarón’s Cinematic JourneyAlfonso Cuarón‘s career is a testament to his versatility and mastery across different film genres and scales. From his early low-budget films in Mexico to major Hollywood blockbusters, Cuarón has continuously demonstrated his unique vision and storytelling prowess. His impressive filmography includes adaptations like Great Expectations (1998), Harry Potter and the Prisoner of Azkaban (2004), and Children of Men (2006), as well as modern classics such as Y tu mamá también (2001), the Academy Award-winning Gravity (2013), and Roma (2018), and his directorial debut, Sólo con tu pareja.
Cuarón is celebrated for his dynamic long-takes and ability to elicit powerful performances from his actors. He has directed iconic performances from stars like Diego Luna, Gael García Bernal, Julianne Moore, George Clooney, Michael Caine, Clive Owen, and Sandra Bullock while also providing a platform for emerging talents, such as Yalitza Aparicio in Roma, whose performance earned her an Academy Award nomination for Best Actress.
His upcoming project, Disclaimer, is a series for Apple TV+ starring Cate Blanchett and Kevin Kline, set to launch on 11 October. In 2022, he produced Alice Rohrwacher’s Oscar-nominated short film Le pupille, making him the second person recognized in seven different Oscar categories.
Giona A. Nazzaro on Alfonso CuarónGiona A. Nazzaro, the Artistic Director of the Locarno Film Festival, praised Alfonso Cuarón, stating, “Alfonso Cuarón is a visionary author of agile and liberated imaginaries. Combining an experimental spirit with the sweep of great popular writers, he has captured the imaginations and hearts of millions of viewers. From coming-of-age novels to science fiction, from melodrama to grand sagas like Harry Potter, Alfonso Cuarón has reinvented himself as an artist with each new film, always in the service of the pleasure of cinema. He has thus created a truly multifaceted body of work.”
Tribute Program HighlightsThe Lifetime Achievement Award to Alfonso Cuarón will be accompanied by a screening of Alain Tanner’s Jonas qui aura 25 ans en l’an 2000 (1976), a film personally selected by Cuarón. Before the screening, Cuarón will discuss the film’s significance to his work and film history. The discussion will be moderated by Frédéric Maire, director of Cinémathèque suisse, in collaboration with Les Films du Camélia.
The public conversation with Alfonso Cuarón at the Forum @Spazio Cinema, moderated by Manlio Gomarasca, will allow fans and cinephiles to gain insights into his illustrious career and creative process.
The Locarno Film Festival‘s Lifetime Achievement Award is a fitting tribute to Alfonso Cuarón‘s remarkable contributions to cinema. It celebrates his innovative spirit and the enduring impact of his work on audiences worldwide.
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Today, July 12, the Taormina Film Fest 2024 kicks off. It is celebrating its 70th anniversary with an evening dedicated to the Nastri d’Argento at the Ancient Theatre. Organized by the Taormina Arte Sicilia Foundation and directed by Marco Müller, this edition promises to be an unforgettable event rich in cinema, art, and territorial valorization.
Opening Night and Nastri d’ArgentoThe opening night will feature the Nastri d’Argento, returning to the Ancient Theatre to honour the excellence of Italian comedy. During the evening, the “Premio Manfredi” will be awarded and promoted by Cinematographic Journalists in collaboration with the Manfredi family.
Screenings and GuestsThe festival will continue on Saturday, July 13, with the world premiere of Saint Clare, directed by Mitzi Peirone, with actresses Bella Thorne and Rebecca De Mornay in attendance. On Sunday, July 14, it will be the turn of Il giudice e il boss by Pasquale Scimeca, presented by actors Gaetano Bruno, Peppino Mazzotta, and Claudio Castrogiovanni.
Special EventsOn Saturday and Sunday, the Palazzo dei Congressi will host Amos Gitai, a master of Israeli cinema, who will present his latest feature film, Shikun. Additionally, the collective of 22 Palestinian directors will present From Ground Zero, a project supervised by Rashid Masharawi that brings the voice of the Gaza population to Taormina.
Taormina Film Fest Host and PresentationCatanese artist Ester Pantano will host the festival, and journalist Elvira Terranova will host the evenings at the Ancient Theatre. On July 14, Producer Carlo Degli Esposti will receive the Golden Cariddi Lifetime Achievement Award.
Vision and InnovationThe foundation’s artistic director, Gianna Fratta, has enriched the cultural offering with theatrical performances, musical shows, and multimedia events. Director Marco Müller has crafted a program that marries international vocation with Sicilian territorial roots, offering a daytime schedule full of must-see films, including Il ladro di stelle cadenti by Francisco Saia and Il cassetto segreto by Costanza Quatriglio.
Don’t miss this special edition, which promises to be a meeting point between cinema, culture, and territory, celebrating 70 years of history and success of the Taormina Film Fest.
For further details, visit www.taorminafilmfestival.com.
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The 81st Venice International Film Festival, taking place from September 7, 2024, has officially announced its prestigious International Jury for the Venezia 81 Competition. Chaired by acclaimed French actress Isabelle Huppert, the jury is composed of renowned film professionals from around the globe.
Venezia 81 International Jury Members1. Isabelle Huppert (President) – Renowned French actress with a prolific career, including multiple awards at Cannes and Venice Film Festivals. 2. James Gray – American director and screenwriter known for films like “Ad Astra” and “The Immigrant.” 3. Andrew Haigh – British director and writer acclaimed for “45 Years” and “All of Us Strangers.” 4. Agnieszka Holland – Polish director and screenwriter with three Oscar nominations, known for “Europa Europa” and “In Darkness.” 5. Kleber Mendonça Filho – Brazilian director and screenwriter famous for “Aquarius” and “Bacurau.” 6. Abderrahmane Sissako – Mauritanian director and producer recognized for “Timbuktu” and “Waiting for Happiness.” 7. Giuseppe Tornatore – Italian director celebrated for “Cinema Paradiso” and “The Best Offer.” 8. Julia von Heinz – German director and screenwriter known for “And Tomorrow the Entire World” and “Treasure.” 9. Zhang Ziyi – Chinese actress acclaimed for roles in “Crouching Tiger, Hidden Dragon” and “Memoirs of a Geisha.”
The jury will present the prestigious Golden Lion for Best Film and other significant awards during the 81st Venice International Film Festival’s closing ceremony on September 7 at the Palazzo del Cinema, Venice Lido.
Venezia 81 JuryAbout the Jury Members of the 81st Venice International Film FestivalIsabelle Huppert has a distinguished career, winning multiple awards, including the Best Actress award at Cannes and the Coppa Volpi award at Venice. She has collaborated with notable directors like Claude Chabrol and Michael Haneke.
James Gray made his directorial debut with “Little Odessa,” earning the Silver Lion at Venice. His notable works include “We Own the Night” and “The Lost City of Z.”
Andrew Haigh gained recognition with “45 Years,” and his recent film, “All of Us Strangers,” received critical acclaim and multiple nominations.
Agnieszka Holland‘s career spans several decades, with notable films such as “Europa Europa” and “The Green Border,” the latter of which won the Special Jury Prize at Venice in 2023.
Kleber Mendonça Filho is known for his impactful films “Aquarius” and “Bacurau,” the latter of which won the Jury Prize at Cannes.
Abderrahmane Sissako directed the Oscar-nominated “Timbuktu,” his works often explore African and global issues.
Giuseppe Tornatore is celebrated worldwide for “Cinema Paradiso,” which won an Oscar for Best Foreign Language Film.
Julia von Heinz has made significant contributions to German cinema with films like “And Tomorrow the Entire World” and “Treasure,” the latter earning her the German Cinema for Peace Award.
Zhang Ziyi is a globally recognized actress for her roles in “Crouching Tiger, Hidden Dragon” and “Memoirs of a Geisha.” She recently made her directorial debut with “Poem.”
Official AwardsThe jury will award the following prizes to the competing feature films:
- Golden Lion for Best Film
- Silver Lion – Grand Jury Prize
- Silver Lion for Best Director
- Coppa Volpi for Best Actress
- Coppa Volpi for Best Actor
- Special Jury Prize
- Award for Best Screenplay
- “Marcello Mastroianni” Award for Best New Young Actor or Actress
Stay tuned for more updates and coverage of the 81st Venice International Film Festival.
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On the occasion of the world premiere of “Second Chance” in the Proxima Competition strand of the 58th Karlovy Vary International Film Festival, we met with Indian director Subhadra Mahajan, joined by her main actress, Dheera Johnson, to talk about her sensitive, snowy yet warm debut film, splendidly shot in black and white in Himachal Pradesh, teeming with lovely, caring details and full of life, where a city girl going through a difficult situation and in search of solace and healing in the mountains, slowly finds her way by forming new bonds with a local boy and his grandmother.We talk about the initial dedication, the delicate cinematography, choice and chance, the various characters and the caring bonds which develop between them, femininity, the presence of dance and the interactions between the protagonist played by Dheera Johnson and the naughty little boy, one very enthusiastic character’s “majestic discourse”, and the goddess inside the landscape.Subhadra Mahajan on the sort of family which forms in this house up in the mountains: “I think that what bonds the three of them is that at different points in the film, they become each other’s mothers.”; “Nia enables Sunny to have a second chance, and Bhemi to have a second chance, within her journey, and in trying to give them second chances is where she discovers that she has the strength to give herself a second chance.”
About the goddess scene: “For me, it represents so much about the general feminine psyche and how it ties into nature and Mother Nature, and Nia, modern girl Nia, and an old village lady like Bhemi, and someway all of us as women.“The post “Second Chance”, an interview with director Subhadra Mahajan and actress Dheera Johnson appeared first on Fred Film Radio.
FAMU alumni Adam Martinec, already saluted on the festival circuit for his shorts “Sugar and Salt” and “Anatomy of a Czech Afternoon” (which took part in the EFP’s Future Frames programme in Karlovy Vary), tells us about his debut feature, “Our Lovely Pig Slaughter“, selected in the Crystal Globe Competition of the 58th Karlovy Vary International Film Festival.
The Czech director explains why he chose the tradition of the domestic pig slaughter as the context for this relentlessly eventful family reunion and how he managed to weave the many complex, tangled dynamics, conflicts and crises at play into such a tight, exhilaratingly dramatic and often humorous script unfolding in one day, all the while staying away from simplistic dichotomies, by having a clear centre – “I’m obsessed with studying the fear of loneliness, which I believe is coded in everyone. For me, all the motifs presented here go to that same centre.“We also talk about the archaisms this family is plagued with, or at the very least hindered by, and the contradictions and frictions those generate – which, added to various practical mishaps, leads to several boiling points –, about dramatic pacing and the influence of the Czechoslovak New Wave, about working with non-professional actors including the director’s own father, about Martinec‘s dynamic musical choices, about the universal quality of the film and the recent trend, in international cinema, to turn to the countryside.The post “Our Lovely Pig Slaughter”, an interview with director Adam Martinec appeared first on Fred Film Radio.
The highly anticipated Locarno Film Festival has announced its official selection for 2024, promising an extraordinary celebration of global cinema. This year’s lineup includes 17 world premieres and features prominent filmmakers such as Hong Sang-soo and Wang Bing, alongside rising talents like Sara Fgaier and Marta Mateus. The festival, set to take place from August 7 to 17, 2024, marks its 77th edition with a diverse array of films and special tributes to renowned industry figures.
A Diverse and Dynamic SelectionArtistic director Giona A. Nazzaro expressed his enthusiasm about this year’s lineup, highlighting its representation of contemporary filmmaking. “We are very excited and happy with our selection, which we believe represents the best of contemporary filmmaking. We have taken special care in highlighting those works that, while broadening the possibilities of cinema, are also consciously trying to spark a more meaningful conversation with the audience,” stated Nazzaro. He emphasized that the festival aims to be a platform for intersectional dialogue, showcasing films that resonate with many audiences.
Among the official selection, notable entries include Hong Sang-soo‘s “By the Stream” and Wang Bing‘s “Youth (Hard Times),” both of which will vie for top honours. Italy’s representation is strong with Sara Fgaier‘s “Sulla Terra Leggeri” and “Luce,” directed by Silvia Luzi and Luca Bellino. Other exciting premieres include Ala Eddine Slim‘s “Agora,” Ben Rivers‘ “Bogancloch,” Virgil Vernier‘s “Cent Mille Milliards,” and Saulė Bliuvaitė‘s “Toxic.”
Special Tributes and AwardsThis year’s festival will honour several distinguished personalities with prestigious awards. Mélanie Laurent and Guillaume Canet will receive the Excellence Awards Davide Campari, acknowledging their extraordinary careers. Artistic director Giona A. Nazzaro praised their contributions: “Mélanie Laurent and Guillaume Canet have forged personal and identifiable acting paths for themselves over the years. Working in the service of a French and European tradition of an auteur cinema that often intersects with the reasons of a cultured popular cinema, the two performers have shown extraordinary sensitivity in the composition of their roles, thus giving rise to artistic, personal trajectories that are appreciated by audiences.”
The festival will also celebrate Jane Campion with the Pardo d’Onore Manor for her outstanding contributions to cinema. Campion will present her beloved masterpiece, “The Piano.” Producer Stacey Sher will receive the Raimondo Rezzonico Award, actor Irène Jacob will be honoured with the Leopard Club Award, and Bollywood icon Shah Rukh Khan will receive the Pardo all Carriera Ascona-Locarno Tourism Award. Additionally, Ben Burtt will be awarded the Vision Award Ticinomoda, and Claude Barras will be recognized with the Locarno Kids Award la Mobiliare.
Piazza Grande PremieresThe Piazza Grande section will feature six world premieres among its 18 titles, including Simon Jaquemet‘s “Electric Child,” Gianluca Jodice‘s “Le Déluge,” and César Díaz‘s “Mexico 86.” Notably, Paz Vega‘s directorial debut “Rita” will premiere alongside restored versions of classics such as Tarsem Singh‘s “The Fall (Restored Cut)” and Jean-Luc Godard‘s “Une Femme Est Une Femme.”
Locarno film Festival – Piazza GrandeA Festival for the Future of CinemaLocarno Film Festival continues to evolve as a beacon for transformative thinking in the cinematic world. President Maja Hoffmann emphasized the festival’s nurturing of new ideas and talents. “My belief and role as President are to help in the creation of platforms that nourish novel ideas and develop new thinking. Locarno has always been the cradle in which vital narratives are born, and it has, over a long history, opened the world to important voices in cinema and experimental approaches to creating films and experiences,” Hoffmann said.
Chief Operating Officer Raphaël Brunschwig highlighted the festival’s commitment to innovation and the broader cultural context. “For 11 days in August, Locarno transforms itself into a unique site of intensification – what an impressive concentration of relationships, of stimuli, of ideas! Dialogue and exchange rule the day, connecting different generations and providing the fertile soil from which the future of cinema can grow,” Brunschwig noted.
The 77th edition of the Locarno Film Festival promises to be a remarkable event, showcasing a vibrant mix of established auteurs and emerging filmmakers. As Giona A. Nazzaro aptly put it, the festival’s mission is to remain a “platform for intersectional dialogue,” showcasing films that challenge and engage audiences. This year’s edition promises various genres and styles, ensuring something for every cinema lover.
Visit the official Locarno Film Festival website to view the complete list of films and details about the event.
Join us in Locarno from August 7-17, 2024, to celebrate the magic of cinema!
The post Locarno Film Festival Unveils Lineup for 2024 appeared first on Fred Film Radio.
“Who stands up for Alvar”, Icelandic director Anna Maria Joakimsdottír Hutri is first own short feature film, participating at the 58th KVIFF’s Future Frames.
After many projects she co-directed, including a feature film, “A Music story”, Joakimsdottír Hutri finally took the chance of writing and directing a story of her own, showing all her creative skills.
As KVIFF programmer Anna Kořínek writes: “Who Stands Up For Alvar is a critique of an overburdened welfare system that drains caregivers of valuable energy they could be devoting to their clients, as well as a poignant look at the need for “ordinary” human kindness.”
The film’s not only about the social system that fails but it is also a tale of a mother and a daughter.
The post “Who Stands up for Alvar”, interview with director Anna Maria Joakimsdottír Hutri appeared first on Fred Film Radio.
“If I Float” directed by Bogdan Alecsandru is showcased in Future Frames – Generation NEXT of European Cinema at the 58th KVIFF.
The queer Romanian filmmaker is particularly proud of representing the future of his country’s filmmaking as it is also an artist’s mission to see the world, represent it and address important social topics.
“If I Float” is a coming-of-age story and its title inevitably leads to a metaphor on what we’re all trying to do from adolescence on: stay afloat. “If we manage to do it” adds the director Bogdan Alecsandru .
Besides Future Frames at Karlovy Vary which will give him the opportunity to meet other emerging filmmakers from the EU and enjoy networking, Bogdan Alecsandru will be part of the Directors Summit in the Talents Sarajevo program.
As Bogdan Alecsandru declares in his short bio: He is interested in visual storytelling and explores the thematic fusion between anxiety and intimacy in fiction film.
The post “If I Float”, interview with the director Bogdan Alecsandru appeared first on Fred Film Radio.
On the occasion of the world premiere of her first feature film, the delightfully unsettling “Pierce”, at the 58th Karlovy Vary Film Festival, Singaporean director Nelicia Low tells us more about this ambiguous story of brotherhood, truth and lies, loving unconditionally, and fencing, which starts unfolding when the older of two brothers is released from prison for a murder of which his baby brother wants to believe he wasn’t guilty.Nelicia Low reveals that the film, dedicated to and inspired by her autistic brother, also proceeded from a real-life ambiguous multiple crime story, and took a long time to write.Low, herself a former fencing champion, explains why this sport is particularly able to carry this tale. We also talk about mirroring effect, about mixing different genres, from feel-good to disturbing, and about lies.The scriptwriter, director, and co-editor of the film also mentions her favourite scene, horrific and hilarious at the same time.The post “Pierce”, an interview with director Nelicia Low appeared first on Fred Film Radio.
A decade after his debut, “White Shadow” (Lion of the Future in Venice in 2013), on the plight of albinos in Tanzania, Bucharest-born director Noaz Deshe presents a fascinating feature shot in a refugee camp in Greece, where it is the minds of the human beings waiting for 12 to 18 months for an answer on their asylum status which is at the centre.This visually stunning piece, deeply rooted in reality whilst exploring the invisible (and cruelly unseen), is amongst the contenders for the Crystal Globe of the 58th Karlovy Vary Film Festival.On the reality the film is based on“Almost everything you see in the movie is taken from documentary research that we’ve done in the camp, and on volunteer work, for many months, in a camp.”
On the toll waiting in a refugee camp takes on the mind“This is all born from the state people are in, in the camp, which is very specific, which is hard to explain unless you are there. Because it’s a place that is nor here, nor there, which means your state of mind is stateless, and that creates a shift, constantly, based on moods, on what happens in the moment, and everything is amplified. Any rumours of conspiracy is amplified, anything that might go wrong or might go right, and the highs are high, and the lows are low. And the danger is extreme, because it is such an intense pressure cooker, being inside this situation.”
On borders“A friend of mine said it was a movie about borders: the ones we create in our minds, and the ones that are imposed on us.”
On the human beings fleeing war and persecution who hope to get to Europe“They carry a very intense trauma, just from the road to Greece, and often, they have lost somebody or left somebody behind. They don’t necessarily talk about this when they arrive, because they’re trying to prepare their minds for a new place, a new world, but I think that a lot of trauma is suppressed, and it starts to come out in different ways. And it’s something people don’t realise… You meet people later, in Europe, and you don’t realise, you don’t know what they’ve had to do to get to this place, if that place offers them any love back. What they’ve had to go through… It’s heartbreaking to see what’s happening in Europe right now.”
The post “Xoftex”, an interview with director Noaz Deshe appeared first on Fred Film Radio.
Bruno Anković tells us more about his debut feature, “Celebration” (original title: “Proslava”), adapted from Damir Karakaš’ novel of the same name, published in 2019, and screened in competition at the 58th Karlovy Vary Film Festival.The Croatian director explains why he wanted to show how easy it was for the Ustaše Militia – established by the fascist, anti Yugoslavia regime called Independent State of Croatia, a nazi puppet state – to recruit in poverty-stricken, religious and superstitious rural environments, and how this century-old story unfortunately still resonates today.Bruno Anković tells us more about the non-linear way in which he chose to recount the story of Mijo, starting after WW2 when has to hide in the woods to escape punishment for his fascists alliances, through criss-crossing flashbacks to his childhood and teenage years around several determining traumatic moments.We also discuss Mijo’s animality and actor Bernard Tomić‘s commitment to obtain this portrayal; the intrinsically good nature of the child and young man he was; life in the countryside and the shape of relationships (between humans, and humans and animals) in this environment; the use of light and darkness; the film’s soundscape and the only two songs which can be heard in his 86-minute running time.The post “Celebration”, an interview with director Bruno Anković appeared first on Fred Film Radio.
At the Karlovy Vary International Film Festival, we met William Sehested Høeg, a talented young director selected for the FUTURE FRAMES program. Høeg’s short film “The Complaint” is a satirical exploration of corporate culture and self-help, set against the backdrop of a teambuilding event gone awry.
Future Frames experienceWhen asked about his experience at Future Frames, William Sehested Høeg expressed his excitement and gratitude. “It’s been a really wonderful experience, especially meeting, you know, nine other directors from Europe who have the same passion for film as I do, but we make films in so different ways,” he said. “It’s been a really inspirational trip for me, and I just really hope that I can follow them in their future careers and see what’s, what’s going to happen.”
Introducing “The Complaint”Describing his film, William Sehested Høeg said, “The Complaint is a dark comedy about a group of colleagues who attend a coaching seminar during a weekend at this very luxurious hotel. The main protagonist, Mona, then receives an anonymous complaint about her behaviour. That sets her on a journey to find out who had the audacity to complain about her.”
Inspiration behind the filmWilliam Sehested Høeg’s inspiration for “The Complaint” stemmed from his fascination with self-help and corporate culture. “The idea for the film arose during a coaching seminar at a luxury hotel, where I saw the potential for drama in such a confined setting” he explains. “But the other thing is it’s a very personal story. I think my mission is to talk about, you know, different aspects of my personality, especially the sides that I’m not necessarily proud of, but to somehow communicate them in a, you know, funny way so that we can share the emotions, and we can all perhaps learn something.”
Influence of contemporary timesReflecting on how current times influenced his film, William Sehested Høeg noted, “I always thought that I just want to do films about, you know, how social media has affected us and especially my generation because we’ve grown up with Facebook and Instagram that is like a very narcissistic tool.” The director highlights the influence of egoism and the fragility of our insecurities, which are amplified by social media, leading to a collective desire to belong.
Balancing humor and seriousnessWilliam Sehested Høeg skillfully balances humour and serious themes in his film. “I always say that I want to make films about socially relevant issues. But putting it in a satirical or comic way, I think sometimes it opens up the discussion as more instead of just being a drama, for instance,” he explained. “I think we can always be better. We can always try to work on us, but the most important thing is that we can laugh at the end.”
Collaboration with sister Emma Sehested HøegWorking with his sister, Emma Sehested Høeg, added a unique dynamic to the film. “Emma and I, we’ve made films ever since we were like six years old,” William Sehested Høeg shared. “When I first talked to her about the film, she could feel that I was trying to tell a very personal story. And she told me: if someone needs to act out all your insecurities, who could do that better than me?”
“The Complaint” is not just a critique of corporate and social dynamics but also a mirror reflecting our own struggles with identity, belonging, and self-worth in an increasingly interconnected world. William Sehested Høeg ’s approach encourages viewers to laugh at their insecurities and ultimately seek improvement, making his work both entertaining and thought-provoking.
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At the Karlovy Vary International Film Festival, we had the chance to speak with Marthe Peters, one of the promising directors selected for the FUTURE FRAMES program. Peters’ short film “Baldilocks,” a poignant self-portrait drawn from her battle with cancer, uses her father’s archival footage to explore memory, survival, and the lingering impacts of her childhood illness.
Introducing “Baldilocks”When asked to introduce “Baldilocks,” Marthe Peters describes it as an autobiographic documentary. “I think is the best way to describe it, and well, it’s based on my experience with cancer when I was a child, but it’s also about my reflections on the consequences that illness or trauma has had on me. And it is also a big love letter to my parents.”
A Journey through time and memoriesMarthe Peters reflects on the emotional journey of revisiting these memories. “It was actually mostly lovely to really get a visual image of myself as a child,” she explains. “It’s also a strange experience because I don’t necessarily identify with this child because it’s a period in my life where I have no memory. But it was really helpful for my mental health and for leading a personal life.”
Insights from childhood footageLooking back at her childhood through her father’s lens, Marthe Peters gained new insights into her family dynamics. “I got to get a little insight into my parents’ personal life,” she shares. “I usually thought about my parents in relation to me, and it’s really beautiful to get to see your parents when they’re a bit younger as well and get a bit more of an insight of how the experience was for them was also just what they like to do for fun, the conversations they had between the two of them, of which, of course, I’ve never present.”
Challenges in making “Baldilocks”Discussing the challenges she faced, Marthe Peters admits, “The way I make films is quite lonely, but it’s also nice. I do the writing, the filming, the editing—I do it all by myself. So I definitely have to make sure that I get feedback from people regularly enough; otherwise, it can get into this solipsistic.”
“Baldilocks” takes audiences on a poignant journey through director Marthe Peters‘ childhood memories and the lasting impact of her illness. This powerful film also showcases the unwavering love of two parents, beautifully captured through video and gestures, as they express their deep affection for their daughter.
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Illustrator and architect Francesca Gastone is the artist behind the poster for the 21st edition of Giornate degli Autori. Following the artistic contributions by Rä di Martino in 2021 and Anna Franceschini in 2022, the festival continues its tradition of entrusting a talented artist with the creation of its poster.
Who is Francesca Gastone?Francesca Gastone, passionate about all forms of art, began her career as an architect, working in Italian and international studios, first in São Paulo, Brazil, and then in Hong Kong. Upon returning to Milan, she specialized in editorial illustration, collaborating with prestigious institutions like the Politecnico di Milano, Mondadori, Electa, and publications such as “L’Espresso,” “Jacobin Italia,” “La Nuova Ecologia,” and “Anorak Magazine.”
Her preferred technique is collage, in which analog and photographic elements coexist in a space dominated by architecture and human presence. Currently, Francesca divides her time between her studio, Atelier Fyumi, located in Ticino Park, and the shared space Bota Fogo, in the Isola district of Milan.
The Poster for Giornate degli Autori 2024The 2024 Giornate degli Autori poster, created by Francesca Gastone, depicts a girl balancing on a tightrope suspended over a dizzying contemporary metropolis. Around her, herons are in flight, her thoughts are floating among the clouds, and her questioning gaze is directed towards the viewer.
Francesca Gastone stated, “The works I like best are the ones that don’t provide answers but trigger questions instead.” This poetics is perfectly reflected in the image she created for Giornate degli Autori, capturing the essence of a world in precarious balance.
“This new image for the Giornate degli Autori poster was quite a challenge,” explains Francesca Gastone. “It contains the entire world, with all its shadows and contradictions, but also the upsweep of a heart striking out in a new direction, excitedly, fearfully, eyes set on all the things we can still draw and craft together. Many thanks to the guidance and the vision of the individuals that have taken this path with me in a spirit of dialogue and trust. Here’s to all the roads that we can still imagine and that can lead to new heights and new places.”
Words from the Artistic DirectionGaia Furrer, artistic director of Giornate degli Autori, commented: “For this year’s poster, we were looking for an image even more evocative, if possible, than those of previous years: something that could capture the precariousness of a world torn by worsening conflicts. Thanks to Francesca’s sensibility and her ability to build worlds, we managed to arrive at an exquisitely beautiful expression of our idea, one that is not only a metaphor for contemporary life but also underscores the value of the creative act and the vision of artists and our Autori, who unravel and herald the complexity of the times we live in.”
- Giornate degli Autori 2024The post Giornate degli Autori: the Poster Between Dream and Reality appeared first on Fred Film Radio.
The highly anticipated sequel, Beetlejuice Beetlejuice, directed by Tim Burton, will open the 81st Venice International Film Festival. The film stars Michael Keaton, Winona Ryder, Catherine O’Hara, Justin Theroux, Monica Bellucci, Jenna Ortega, and Willem Dafoe.
A Spirited OpeningBeetlejuice Beetlejuice will have its world premiere on Wednesday, August 28, in the Sala Grande at the Palazzo del Cinema. Marking a spectacular beginning to the prestigious festival directed by Alberto Barbera, this Warner Bros. Pictures presentation will hit theatres and IMAX in North America on September 6, 2024, and internationally starting September 4, 2024.
Alberto Barbera expressed his excitement, stating, “Beetlejuice Beetlejuice marks the long-awaited return of one of the most iconic characters of Tim Burton’s cinema, but also the happy confirmation of the extraordinary visionary talent and the masterly realization of one of the most fascinating auteurs of his time. The Venice Biennale is honoured and proud to host the world premiere of a work that features a surprising swing of creative imagination and driving hallucinatory rhythm.”
Tim Burton also shared his enthusiasm: “I’m very excited by this. It means a lot to me to have the world premiere of this film at the Venice Film Festival.”
Beetlejuice Beetlejuice by Tim BurtonBeetlejuice BeetlejuiceOscar-nominated director Tim Burton and Oscar-nominated star Michael Keaton reunite for Beetlejuice Beetlejuice, the long-awaited sequel to Burton’s original Beetlejuice. Keaton reprises his iconic role alongside Oscar nominee Winona Ryder as Lydia Deetz and two-time Emmy winner Catherine O’Hara as Delia Deetz. New cast members include Justin Theroux, Monica Bellucci, Arthur Conti, Jenna Ortega as Lydia’s daughter Astrid, and Oscar nominee Willem Dafoe.
Following an unexpected family tragedy, three generations of the Deetz family return home to Winter River. Lydia’s rebellious teenage daughter, Astrid, discovers a mysterious model of the town in the attic, accidentally opening a portal to the Afterlife. As trouble brews in both realms, the mischievous Beetlejuice is summoned once again.
The film is directed from a screenplay by Alfred Gough & Miles Millar, with a story by Gough, Millar, and Seth Grahame-Smith, based on characters created by Michael McDowell & Larry Wilson.
About Tim BurtonTimothy Walter Burton, born in 1958 in Burbank, California, has gained renown for his imaginative artistry and unique cinematic style. A pioneer of a dreamlike, grotesque, and beautiful film genre, Burton has reinvented Hollywood genre cinema with a distinctive vision. His iconic filmography includes Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Tim Burton’s The Nightmare Before Christmas (1993), Ed Wood (1994), Big Fish (2003), The Corpse Bride (2005), Sweeney Todd: The Demon Barber of Fleet Street (2007), Alice in Wonderland (2010), and Dumbo (2019). He also served as Executive Producer for the hit series Wednesday. Beyond filmmaking, Burton is an accomplished artist in fine art, photography, and sculpture, embodying the spirit of Pop Surrealism.
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The Board of the Biennale di Venezia announced that they had awarded the prestigious Golden Lion for Lifetime Achievement to iconic American actress and three-time Academy Award nominee Sigourney Weaver at the 81st Venice International Film Festival, which will take place from August 28 to September 7, 2024.
A Career of Unmatched Versatility and InfluenceSigourney Weaver, renowned for her roles in Alien, Gorillas in the Mist, Ghostbusters, Master Gardener, and The Year of Living Dangerously, has been a transformative figure in cinema, and she is celebrated for her powerful performances and ability to transcend genre boundaries. Weaver’s acceptance of the award reflects her gratitude towards her collaborators and the filmmaking community:
“I am truly honored to receive the Golden Lion for Lifetime Achievement from La Biennale di Venezia. To be gifted this award is a privilege I share with all the filmmakers and collaborators I have worked with throughout the years. I proudly accept this award in celebration of all who have helped bring these films to life.”
Praise from Festival Director Alberto BarberaAlberto Barbera, the Venice International Film Festival Director, lauded Weaver’s contribution to cinema, emphasizing her significant impact on the industry:
“An actress of the caliber of Sigourney Weaver has few rivals. Strengthened by her significant theatrical training, she won over the great film-going public with Alien, directed by Ridley Scott, soon becoming an emblematic figure of the 1980s. During the course of that decade, she forged the image of a heroine unprecedented in the action film genre, able to victoriously rival the male models who, up to that point, had dominated epic and adventure movies. Not satisfied with having blazed the trail for powerful female actors, the actress ceaselessly continued her search for a personal identity. She constantly challenged her persona through choices that ranged from genre movies to comedies, art-house films, and children’s movies, side-stepping labels that sought to restrict her to the role of a triumphant icon of the Reagan era. As an authentic collaborator, rather than simply a malleable instrument in the hands of a director, she has contributed to the success of movies by James Cameron, Paul Schrader, Peter Weir, Michael Apted, Roman Polanski, Ivan Reitman, Mike Nichols, Ang Lee, and many others, each time imposing the mark of a complex personality — at times contradictory but always authentic — onto her own charismatic presence. Endowed with a remarkable temperament, able to move with delicacy yet without fragility, she has created the image of a woman who is self-assured and determined, dynamic and resolute; at the same time, with endlessly different shadings, she allows her intensely magnetic, feminine sensitivity to filter through. The Golden Lion for Lifetime Achievement is just recognition for a star who has built bridges between the most sophisticated art-house cinema and movies that engage with the public in a frank and original way, all the while remaining true to herself.”
A Storied CareerSigourney Weaver‘s illustrious career spans decades and genres, from her groundbreaking role as Ellen Ripley in the Alien franchise to her award-winning portrayal of Dian Fossey in Gorillas in the Mist.
Born and educated in New York City, Weaver graduated from Stanford University and later received a master’s from Yale School of Drama. Her extensive filmography includes critically acclaimed performances in films such as The Ice Storm*, Galaxy Quest, Avatar, and the recent Avatar: The Way of Water*.
Looking ForwardSigourney Weaver continues to captivate audiences and shows no signs of slowing down. Her upcoming projects include the black comedy Dust Bunny with Mads Mikkelsen and The Gorge with Miles Teller and Anya Taylor-Joy.
The full lineup of the 81st Venice International Film Festival will be announced on July 23. Stay tuned for more updates on this prestigious event.
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Donald Sutherland, the versatile and prolific actor known for his roles in films such as MASH, Ordinary People, and The Hunger Games*, has died at the age of 88. Sutherland’s death was confirmed by his representative, Missy Davy, who stated that he passed away on Thursday in Miami after a long illness. Over his illustrious career, Sutherland showcased his remarkable range by appearing in nearly 200 films and television shows, captivating audiences with his ability to portray a wide variety of characters, from sinister villains to sympathetic heroes.
Early Life and Career BeginningsBorn Donald McNichol Sutherland on July 17, 1935, in Saint John, New Brunswick, Canada, he faced numerous health challenges as a child, including polio and rheumatic fever. Despite these early obstacles, Sutherland developed a passion for acting while studying engineering and drama at the University of Toronto. After graduating in 1958, he pursued further training at the London Academy of Music and Dramatic Art before honing his craft in English and Scottish repertory theatres.
Breakthrough Roles in the 1960s and 1970sDonald Sutherland‘s big break came with his role as Pvt. Vernon Pinkley in The Dirty Dozen (1967). His performance caught the attention of audiences and directors alike, leading to his casting as the anti-establishment Army medic Hawkeye Pierce in Robert Altman‘s MASH (1970). This role propelled him to international stardom and established him as a leading actor of his generation. Donald Sutherland continued to build on this success with notable performances in films such as Klute (1971), where he played a private eye opposite Jane Fonda, and Don’t Look Now (1973), a horror thriller with Julie Christie*.
Donald Sutherland and Elliott Gould in ‘MASH,’ 1970Diverse Roles and Critical AcclaimThroughout the 1970s and 1980s, Donald Sutherland demonstrated his versatility by taking on various roles. He portrayed the enigmatic Paul Gauguin in The Wolf at the Door (1986), a maniacal pyromaniac in Backdraft (1991), and a compassionate father in Ordinary People (1980), directed by Robert Redford. His performance in Ordinary People was particularly acclaimed, showcasing his ability to convey deep emotional complexity. Despite his impressive body of work, Sutherland was never nominated for a competitive Oscar. However, the Academy of Motion Picture Arts and Sciences rectified this oversight by awarding him an Honorary Oscar in 2017.
Donald Sutherland in Ordinary PeopleThe Hunger Games and Later CareerIn the 2010s, Donald Sutherland gained a new generation of fans with his portrayal of President Snow in The Hunger Games series. After reading the script and recognizing its potential to resonate with contemporary audiences, he actively pursued the role. His portrayal of the despotic leader added a chilling dimension to the dystopian saga, further cementing his legacy as a versatile and compelling actor.
Donald Sutherland in The Hunger Games: Catching FirePersonal Life and LegacySutherland’s personal life was as colourful as his career. He was married three times, first to Lois Hardwick, then to Shirley Douglas, with whom he had twins Kiefer and Rachel Sutherland. His third marriage was to actress Francine Racette, with whom he had three sons: Roeg, Rossif, and Angus. Kiefer Sutherland, himself an accomplished actor, paid tribute to his father on social media, describing him as “one of the most important actors in the history of film.”
Tributes from Colleagues and FansFollowing the news of Sutherland’s passing, tributes poured in from across the entertainment industry. Helen Mirren, who worked with Sutherland on multiple occasions, remembered him as “one of the smartest actors I ever worked with,” praising his intelligence, sensitivity, and professionalism. Director Ron Howard, who directed Sutherland in Backdraft, highlighted his “incredible range, creative courage, and dedication to serving the story.” Filmmaker Edgar Wright lauded Sutherland as a “fascinating screen presence” and a “favourite actor.”
Enduring Impact on Film and TelevisionDonald Sutherland‘s impact on film and television is undeniable. His ability to inhabit a wide array of characters with authenticity and depth made him a beloved figure in the industry. From his early roles in The Dirty Dozen and MASH to his later work in The Hunger Games* and beyond, Sutherland consistently delivered memorable performances that resonated with audiences around the world.
His unique talent, dedication to his craft, and ability to connect with audiences ensured that he remained a prominent figure in the entertainment industry for over six decades. As fans and colleagues reflect on his legacy, it is clear that Sutherland’s contributions to film and television will be remembered and celebrated for many years to come.
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Almost 10 years after 2015’s Oscar®-winning “Inside Out“, Disney and Pixar’s “Inside Out 2” returns to the mind of newly minted teenager Riley.
“Inside Out 2“, coming out in cinemas on June 14th worldwide and June 19th in Italy, is directed by Kelsey Mann taking over Pixar chief creative officer Pete Docter.
Produced by Mark Nielsen, who served as associate producer for “Inside out“, the film finds Riley’s mind headquarters in the typical chaos that comes with coming-of-age: new emotions are unexpectedly joining Joy, Sadness, Anger, Fear and Disgust. Among them, the most irreverent and difficult to handle will be Anxiety.
The idea of Riley entering adolescence provided filmmakers with the perfect canvas, confirm Kelsey Mann and Mark Nielsen as they both realized with Inside out that kids are much more capable of understanding a profound film like this than we think.
“We knew that we were if we went down a similar road with this film and tackle more complicated emotions, and bigger concepts, kids would be on board to do that with us” say director Kelsey Mann and producer Mark Nielsen.
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The new film by director Jeff Nichols, The Bikeriders, coming out in cinemas on June 19th, follows the rise of a midwestern motorcycle club, the Vandals.
Distributed by Universal Pictures and starring Austin Butler, Tom Hardy and Jodie Comer, the film is set in the city of Chicago in the 60’s and it is the story of a mysterious motorcycle club member Benny (Austin Butler), finding his place in the group led by Johnny (Tom Hardy).
Inspired by iconic motorcycle films such as “The Wild one” or “Easy Rider“, director Jeff Nichols focused on the universal theme of the film, our constant search for our identity and the need for everybody to belong, to fit in.
“While we’re looking for our place in the world, we often end up in a group” comments Jeff Nichols adding that in the film “you’re looking at guys that are formalizing the idea of rebellion”.
As his Benny doesn’t really talk much while he has so many scenes in which everything happens without a single word coming out, Austin Butler explains his method of writing down his characters’s thoughts despite not spelling them out.
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The interview conducted at the River Film Festival in Padova offers a profound insight into the short film “40 Degrees North, 73 Degrees West” and the work of its director, Sandy Williams. The discussion explores themes of community, history, and the overlooked narratives within Black and Indigenous communities in the United States.
The interview begins with a question about a poignant phrase in the short film: “We cannot know history only if we hear from the point of view of the hunter without listening to the lion.” Sandy Williams reveals that this powerful statement came spontaneously from a community leader during the filming, reflecting a central theme of the film. The unscripted interviews and perspectives captured in the film, combined with Sandy’s narration, create a rich tapestry of voices and experiences.
The film’s unique approach to uncovering and presenting history challenges the often negative or limited portrayals of Black communities in the media. Sandy Williams explains that the film is part of a larger archival project, the 40 Acres Archive, which aims to document forgotten histories along the East Coast. This project not only seeks to uncover the past but also to document the present, creating a legacy for future generations.
The portrayal of community and culture stands out as a significant element, resonating deeply. One moment in the film features a woman speaking about the simple yet profound aspects of their community—music, good food, and good people. This sense of belonging and community, despite the erasure of their history, is a powerful message that transcends geographical and cultural boundaries.
Sandy Williams elaborates on the film’s metaphor of skywriting, symbolizing the ephemeral yet enduring nature of history. The erased records of communities like those in Brooklyn, New York, persist through the memories and lives of the people. The project highlights the importance of acknowledging these foundations and understanding that such histories are integral to the present and future.
In conclusion, Sandy’s film and archival project underscore a universal human need for safety, community, and love. By bringing to light these hidden histories, the film fosters a deeper understanding and appreciation of the rich cultural tapestries that make up our world. The encouragement for Sandy to continue this impactful work emphasizes the importance of these stories in shaping a more inclusive and empathetic society.
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The interview conducted at the River Film Festival in Padova provides a captivating and heartfelt look into the story behind the short film “The Suitcase” and the dedication of its producer, Rebecca Vittoria-Romanoff, to raising awareness about autism.
Rebecca, the producer of the short film, shares how the project began almost by chance through the Romanoff Imperial Foundation. The foundation, primarily operating in Brussels, became interested in autism-related issues after recognizing a growing need for awareness. Rebecca highlights that one in 167 children is born with autism spectrum disorders and emphasizes that awareness is crucial for early intervention.
“The Suitcase” emerged from this awareness campaign. As Rebecca Vittoria-Romanoff explains, the story revolves around a woman who loses a special suitcase, which is then found by three orphaned children. Inside the suitcase, they discover a child with autism, whom they initially believe to be an extra-terrestrial. The narrative follows the children as they attempt to reunite the child with his mother, showing that in the world of children, there are no barriers between those with and without disorders. This perspective offers a powerful and moving narrative, which has garnered significant success, winning over 12 international awards.
Rebecca Vittoria-Romanoff highlights a particularly poignant moment in the film when one character expresses the wish that his mother would stop worrying about him, only to be reminded by another character that he is lucky to have a mother, underscoring the harsh reality faced by many children without families.
The Romanoff Imperial Foundation’s work extends beyond cinema into various philanthropic efforts. Rebecca Vittoria-Romanoff describes how the foundation has supported animal shelters, provided aid to earthquake victims in Albania, and more. This humanitarian dedication is reflected in their film work, which aims not only to entertain but also to raise awareness and inspire change.
In conclusion, Rebecca expresses the intention to expand “The Suitcase” into a full-length feature film to delve deeper into the lives of children with autism. Her enthusiasm and passion for the cause are evident, leaving a sense of hope and admiration for the foundation’s work.
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As Pride Month dawns, FRED Film Radio proudly joins the global celebration, reaffirming our commitment to amplifying LGBTQI+ voices in cinema. This month, we reflect on the significance of Pride and highlight some of the remarkable LGBTQI+ films and filmmakers we’ve had the honour of interviewing.
Importance of Pride Month to FRED Film RadioPride Month is not just a celebration; it’s a powerful reminder of the ongoing struggle for equality and the importance of representation in all forms of media, including film. At FRED Film Radio, we believe in the transformative power of storytelling and its ability to foster empathy, understanding, and change. By featuring LGBTQI+ filmmakers and their work, we aim to contribute to a more inclusive and diverse cinematic landscape.
Spotlight on LGBTQI+ Film InterviewsOver the years, FRED Film Radio has interviewed numerous filmmakers who bring LGBTQI+ stories to the forefront. Here are a few highlights:
Close by Lukas Dhont1. Lukas Dhont—“Close”: Lukas Dhont’s second feature, Close, is a homage to friendship. In this interview, the director reveals how he dedicated the film to the friends he lost while growing up and how he got the idea for his second work thanks to his mom, who pushed him to write about what he knows and cares about. 2. Céline Sciamma—“Portrait of a Lady on Fire”: Renowned director Céline Sciamma shared insights into her superb fourth feature film, the initial idea, the desire to chronicle the birth of love and its memory (and its immensity, its emancipatory force…) with all the tools of staging, to build an alchemy between a loving speech and a speech about love. 3. David Lambert—“Turtles”: At the Lovers Film Festival, David Lambert discussed his film “Turtles,” which highlights the seldom-seen representation of older queer couples. 4. Todd Haynes—“Carol”: Todd Haynes discusses the universal effects of falling in love. 5. Ira Sachs and Franz Rogowski—“Passages”: The director and actor of “Passages” discuss how the film shows that love has no gender. Still, the same goes for jealousy and cheating in relationships.
Passages – Ira SachsAs we celebrate Pride Month, FRED Film Radio remains dedicated to supporting and showcasing LGBTQI+ filmmakers and their stories. These interviews are just a few examples of how we can promote diversity and inclusion in the cinematic world. Join us this month in honouring the voices that continue to inspire and drive change through the art of film.
For more in-depth interviews and insights, explore our extensive archive of conversations with filmmakers from around the globe.
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After winning the Un Certain Regard Award for Best Performance in 2022, French- Tunisian actor Adam Bessa is back in Cannes as the protagonist of “Ghost Trail” by Jonathan Millet.
Opening film of the 63rd Semaine de la Critique of Cannes 77, “Ghost Trail” sees Adam Bessa as Hamid, a Syrian refugee who’s part of a secret group pursuing the Syrian regime’s fugitive leaders.
About Adam Bessa and his being perfect for the role, director Jonathan Millet said: “he has an air of gravity about him that makes you believe he has been through the worst events”.
Adam Bessa confirms that he’s not afraid to explore the dark feelings embodied by the human beings he’s asked to portray on screen.
Adam Bessa then proceeds to explain how he worked on the physicality of his character, a person who has been through an enormous amount of pain in his life. His body had to show that without Bessa’s Hamid having to spell it out.
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The iconic Locarno Film Festival has unveiled a series of thrilling announcements for its 77th edition, which will take place from August 7 to 17, 2024, in the stunning Swiss town on the shores of Lake Maggiore. Cinema lovers and industry elite are buzzing with anticipation over the star-studded lineup, special events, and restored classics set to make this year’s Festival an unforgettable experience.
Locarno77 Poster by Annie LeibovitzLegendary Photographer Annie Leibovitz Designs Official PosterIn a major coup for Locarno77, world-renowned photographer Annie Leibovitz created this year’s official festival poster exclusively. Leibovitz’s masterful image features a powerful leopard standing gracefully on the boulders of Lake Maggiore, perfectly embodying the Festival’s leopard emblem set against the dramatic Swiss Alps. With her unparalleled ability to capture the essence of prominent figures like John Lennon, Queen Elizabeth II, and Barack Obama, Leibovitz’s artistic vision makes this an extraordinary visual centrepiece.
“My Life as a Zucchini” Director Claude Barras Receives Locarno Kids HonorThe acclaimed Swiss animator Claude Barras, whose beloved stop-motion film “My Life as a Zucchini” captured hearts worldwide, will be honoured with the prestigious Locarno Kids Award la Mobiliaire. This special prize celebrates storytellers who inspire a passion for cinema in younger audiences. Barras’ highly anticipated new animated feature, “Sauvages,” a tale about an orangutan fighting to protect the forests of Borneo, will have its Swiss premiere on the iconic Piazza Grande. A true master of his craft, Barras’ socially conscious yet wildly entertaining films make him a deserving recipient.
My Life As ZucchiniVisionary Jessica Hausner to Lead Main Competition JuryInternationally renowned Austrian auteur Jessica Hausner, director of distinctive visionary works like “Lourdes,” “Little Joe,” and Cannes 2023 entry “Club Zero,” has been tapped as jury president for the Festival’s main Concorso Internazionale competition. Hausner’s restless, boundary-pushing approach to exploring complex human experiences makes her an electrifying choice to oversee the coveted Pardo d’Oro (Golden Leopard) award for best film. With her artistic daring, Hausner will surely lead the jury in championing bold, avant-garde visions.
Cinematic Gems Restored for Official SelectionTrue cinema connoisseurs are in for a treat, as Locarno77 has confirmed the inclusion of two newly restored classics in its official selection. The 1992 Berlinale Silver Bear winner “Samba Traoré” by trailblazing Burkinabé director Idrissa Ouédraogo and the Swiss-French arthouse favourite “Repérages” (Faces of Love) from 1977, starring icons Delphine Seyrig and Jean-Louis Trintignant, will give audiences an unmissable opportunity to experience these influential works of cinema history in pristine, revitalized form.
With its idyllic lakeside setting, world-class film programming, star-studded red carpet events, and steadfast commitment to nurturing artistic expression and bold visions, the 77th Locarno Film Festival is shaping to be a true feast for cinephiles.
Mark your calendars for this prestigious international celebration of the cinema arts from August 7-17, 2024.
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For his second feature film, “My Sunshine“, presented in Un Certain Regard at the 77th Cannes Film Festival, Japanese director Hiroshi Okuyama is also director of photography, scriptwriter and editor.
Inspired by his own childhood memories and his experience in figure skating as a child, Hiroshi Okuyama depicts a delicate coming-of-age drama set in a small Japanese island about a special bond between a figure skating rising star and a young athlete with good potential.
In Cannes, the Japanese director reveals that he conceived the film to try and preserve the memories from his childhood he might forget one day.
As it also deals with themes such as sexual orientation and lgbtq+ topics , the film’s purpose is also an invitation to respect and enhance diversity and uniqueness.
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At the 77th Cannes Film Festival, in the Director’s fortnight, this year director Ryan J. Sloan and actress Ariella Mastroianni brought their dream come true: “Gazer“.
Shot in 16mm, Ryan J. Sloan’s debut feature was conceived, written, produced and financed by the director and lead actress Ariella Mastroianni.
In his director’s notes Ryan J. Sloan wrote: “It is also a testament to the power of community” . With this declaration he’s not only thanking the people supporting his project and turning it into a reality but he’s sending a message out there in the cinema world.
To really welcome a new generation of independent filmmakers, we need to create a community, a film movement.
Ryan J. Sloan and Ariella Mastroianni unveil how they came across this time perception disorder, dyschronometria, that had never been represented on screen. It comes from a novel, The man who is took his wife for a hat by Oliver Sacks, that Ariella Mastroianni was reading at the time they were desperately looking for a good film subject.
Shot in 16 mm, the film, to quote J. Sloan again, is a love letter to the films that first inspired him.
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At the 77th Festival de Cannes, Magnus von Horn presented his latest film, “The Girl with the Needle”, a haunting tale set in Copenhagen after World War I. In this interview, Magnus von Horn delves into the inspirations, challenges, and thematic explorations that shape this dark and thought-provoking narrative.
Confronting Fears Through FilmMagnus von Horn shares the personal and emotional journey that informed “The Girl with the Needle.” Reflecting on his own experiences, he reveals how these profound moments of introspection influenced the film’s thematic core. “It’s about moral dilemmas, regret, and the complex decisions we face,” he says.
Aesthetic Choices and InfluencesDiscussing the film’s visual style, Magnus von Horn explains the decision to shoot in black and white to transport audiences into a timeless, almost fairytale-like realm. Drawing inspiration from period photography and cinematic classics, von Horn and his team crafted a visually stunning landscape that blurs the lines between reality and fantasy.
Collaboration with Trine DyrholmVon Horn admires actress Trine Dyrholm, who portrays the enigmatic Dagmar in “The Girl with the Needle.” Recounting their initial meeting and Dyrholm’s transformative approach to the character, von Horn praises her fearlessness and depth as an actor.
Trine Dyrholm in The Girl with the Needle by Magnus von HornNarrative Structure and Surprise ElementsMagnus Von Horn explains the deliberate pacing and narrative structure of “The Girl with the Needle,” emphasizing the importance of building tension and suspense. He describes how the film’s gradual unfolding of events creates a sense of unease and anticipation, inviting audiences to question their perceptions and expectations.
Provoking Discussions Among AudiencesMagnus von Horn hopes that “The Girl with the Needle” will spark meaningful audience discussions. “It’s about the choices we make, the consequences of our actions, and the blurred lines between right and wrong,” he states. Von Horn encourages viewers to confront their moral compasses and grapple with the complexities of human nature depicted in the film.
“The Girl with the Needle” is a powerful exploration of morality, love, and sacrifice in a world of uncertainty and ambiguity. Magnus von Horn‘s bold storytelling illuminates the darker corners of the human psyche, inviting audiences on a haunting journey of self-discovery and introspection.
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Presented in Cannes Premiere at the 77th edition, “Everybody Loves Touda” is the new film by Moroccan director Nabil Ayouch.
Written by Ayouch together with his life partner, director Maryam Touzani, “Everybody Loves Touda“, through the protagonist’s character, Touda ( Nisrin Erradi) pays homage to the Sheikhats, strong independent singers belonging to the Moroccan tradition since the 19th century.
With Erradi, the director remarks on the importance of bringing to the big screen stories like these as they’re the best way to show the world that such figures of independence, fight and strength exist in the Arabic world.
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The Karlovy Vary International Film Festival (KVIFF), one of Central and Eastern Europe’s most prestigious cinematic events, has announced the eagerly anticipated lineup for its 58th edition. The festival, directed by Karel Och, will take place from June 28 to July 6, 2024, in the Czech Republic. It will feature a diverse range of films and a distinguished panel of juries. This year’s official selection includes entries for the Crystal Globe and Proxima competitions, alongside a series of special screenings.
Crystal Globe CompetitionThe centrepiece of KVIFF, the Crystal Globe Competition, showcases a blend of seasoned directors and promising newcomers. This year’s selection is a testament to the festival’s commitment to presenting a wide array of genres and themes.
- Ai ni ranbou / Rude to Love – Yukihiro Morigaki (Japan, World Premiere)
- Banzo – Margarida Cardoso (Portugal/France/Netherlands, International Premiere)
- Cì xīn qiè gŭ / Pierce – Nelicia Low (Singapore/Taiwan/Poland, World Premiere)
- Drie dagen vis / Three Days of Fish – Peter Hoogendoorn (Netherlands/Belgium, World Premiere)
- Elskling / Loveable – Lilja Ingolfsdottir (Norway, World Premiere)
- Ema a smrtihlav / The Hungarian Dressmaker – Iveta Grófová (Slovakia/Czech Republic, World Premiere)
- Mord / Our Lovely Pig Slaughter – Adam Martinec (Czech Republic/Slovakia, World Premiere)
- Panoptikoni / Panopticon – George Sikharulidze (Georgia/France/Italy/Romania, World Premiere)
- Proslava / Celebration – Bruno Anković (Croatia/Qatar, World Premiere)
- A Sudden Glimpse to Deeper Things – Mark Cousins (UK, World Premiere)
- Světýlka / Tiny Lights – Beata Parkanová (Czech Republic/Slovakia, World Premiere)
- Xoftex – Noaz Deshe (Germany/France, World Premiere)
Proxima CompetitionThe Proxima Competition continues KVIFF‘s tradition of spotlighting innovative and bold cinematic voices. This year’s entries promise to deliver thought-provoking narratives and unique artistic visions.
- Bezvetrije / Windless – Pavel G. Vesnakov (Bulgaria/Italy, World Premiere)
- Cabo Negro – Abdellah Taïa (France/Morocco, World Premiere)
- Clorofilla / Chlorophyll – Ivana Gloria (Italy, International Premiere)
- Fără suflet / The Alienated – Anja Kreis (Germany/Moldova/France, World Premiere)
- Hiçbir şey yerinde değil / Nothing in Its Place – Burak Çevik (Turkey/Germany/South Korea, International Premiere)
- Ju wai ren / Stranger – Zhengfan Yang (USA/China/Netherlands/Norway/France, World Premiere)
- Lapilli – Paula Ďurinová (Slovakia/Germany, World Premiere)
- Od marca do mája / March to May – Martin Pavol Repka (Czech Republic, World Premiere)
- Second Chance – Subhadra Mahajan (India, World Premiere)
- Trans Memoria – Victoria Verseau (Sweden/France, World Premiere)
- Tropicana – Omer Tobi (Israel/Canada, World Premiere)
- Vino la noche / Night Has Come – Paolo Tizón (Peru/Spain/Mexico, World Premiere)
Special ScreeningsIn addition to the competitive sections, KVIFF will feature a series of special screenings, offering a rich selection of films that delve into diverse topics and styles.
- Architektura ČSSR 58–89 / Czechoslovak Architecture 58–89 – Jan Zajíček (Czech Republic/Slovakia, World Premiere)
- In the Land of Brothers – Alireza Ghasemi, Raha Amirfazli (Iran/France/Netherlands, European Premiere)
- Ještě nejsem, kým chci být / I’m Not Everything I Want to Be – Klára Tasovská (Czech Republic/Slovakia/Austria)
- Das Lied der Anderen – Eine Suche nach Europa / The Song of Others – A Search for Europe – Vadim Jendreyko (Switzerland, International Premiere)
- Real – Oleh Sentsov (Ukraine/Croatia, World Premiere)
- Ta druhá / The Other One – Marie-Magdalena Kochová (Czech Republic, World Premiere)
- Tatabojs.doc – Marek Najbrt (Czech Republic, World Premiere)
- Vlny / Waves – Jiří Mádl (Czech Republic, World Premiere)
- Voyage au bord de la guerre / Journey to the Brink of War – Antonin Peretjatko (France, International Premiere)
- Zahradníkův rok / The Gardener’s Year – Jiří Havelka (Czech Republic, World Premiere)
KVIFF JuriesThis year’s juries for the Crystal Globe and Proxima competitions are composed of renowned professionals from the film industry, bringing their expertise and discerning eyes to the festival.
Crystal Globe Jury Christine Vachon – Acclaimed American producer, co-founder of Killer Films. * Geoffrey Rush – Academy Award-winning actor. * Sjón – Icelandic author and screenwriter. * Eliška Křenková – Czech actress. * Gábor Reisz* – Hungarian director and screenwriter.
Proxima Jury Bianca Balbuena – Filipino producer and general manager of Anima Studios. * Wouter Jansen – Founder of the sales company Square Eyes. * Adéla Komrzý – Czech film director. * Mohamed Kordofani – Sudanese filmmaker. * Daniela Michel* – Founding director of the Morelia International Film Festival.
The 58th Karlovy Vary International Film Festival promises an exciting lineup, with a mix of innovative debuts and works from established filmmakers. The festival continues to be a significant platform for cinematic excellence, offering audiences a rich and diverse viewing experience. Don’t miss this extraordinary celebration of film from June 28 to July 6, 2024.
For more information and the latest updates, visit the KVIFF‘s official website.
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The one and only actress Isabelle Huppert tells us more about her character and her work in Patricia Mazuy’s “Visiting Hours” (“La Prisonnière de Bordeaux“, singular…), selected in Cannes as part of the 56th Directors’ Fortnight.
“What made me willing to do the film in the first place was the prospect of working again with Patricia Mazuy, with whom I did, some time ago [in 2000], Saint-Cyr, which was in Cannes, in the Un Certain Regard sidebar, and which I think was a really great film. Over the past years, I have liked her films a lot, especially her last one before this one, Bowling Saturn, which I think is a small masterpiece. There is something very sharp and very harsh in her vision of the world which makes her stories very interesting, whether they are more dramatic, or more comedic, or whatever, but there is also something a bit… let’s say very much political, in the wider sense of the word of course.”
“In the end, it is a tragicomedy, but throughout the film, it is, very often a comedy, which I did not expect actually. I did not expect people to laugh as much as they did at the screening, last night, but there is also something very dark in the ending, which owes to the irreconcilable aspect of this relationship, because they represent two different worlds.”
About the very first sequence : “There is something abstract that runs throughout the film, in the narrative… well abstract maybe the word is a bit strong, but you do go from one scene to the other without an explanation between the two scenes. And there is something in the writing which is very modern, very cinematic, from the very beginning…“
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The 77th edition of the Festival de Cannes concluded with a spectacular ceremony, honoring the finest in filmmaking from around the globe. This year’s festival highlighted remarkable talent, groundbreaking stories, and a celebration of cinematic excellence. Here’s a comprehensive look at the winners of the prestigious awards.
Palme d’Or (Golden Palm)Winner: “Anora” (Directed by Sean Baker)
Sean Baker‘s “Anora” clinched the Palme d’Or, the highest honour at the Cannes Film Festival. The US comedy-drama stars Mikey Madison as Anora, a sex worker entangled in a whirlwind romance with a Russian oligarch. Baker, known for his unique storytelling, dedicated his award to sex workers and emphasized the importance of theatrical distribution.
Grand Prix (Grand Prize)Winner: “All We Imagine As Light” (Directed by Payal Kapadia)
Payal Kapadia‘s “All We Imagine As Light” won the Grand Prix. This Indian film, a poignant narrative about two nurses’ journey to a beach town, is the first Indian film in Cannes Competition in 30 years. Kapadia highlighted themes of inclusivity and empathy in her acceptance speech.
Prix du Jury (Jury Prize)Winner: “Emilia Pérez” (Directed by Jacques Audiard)
Jacques Audiard‘s “Emilia Pérez,” a Spanish-language musical thriller, took home the Jury Prize. The film’s star-studded cast, including Adriana Paz, Zoe Saldaña, Karla Sofía Gascón, and Selena Gomez, also shared the Best Actress award.
Prix d’interprétation masculine (Best Actor)Winner: Jesse Plemons for “Kinds Of Kindness”
Jesse Plemons was honoured as Best Actor for his multifaceted roles in Yorgos Lanthimos’ “Kinds Of Kindness.” His performance as a submissive businessman, a grieving police officer, and a bisexual cult member showcased his exceptional range and talent.
Prix d’interprétation féminine (Best Actress)Winners: Adriana Paz, Zoe Saldaña, Karla Sofía Gascón, and Selena Gomez for “Emilia Pérez”
In an unprecedented move, the four lead actresses of “Emilia Pérez” shared the Best Actress award. Their collective portrayal in the film resonated with the jury, celebrating the harmony of sisterhood. Explaining the jury’s unusual decision to award Best Actress to an ensemble, Greta Gerwig noted that each performer was exceptional individually, but “together they’re transcendent.”
Prix de la mise en scène (Best Director)Winner: Miguel Gomes for “Grand Tour”
Portuguese filmmaker Miguel Gomes received the Best Director award for “Grand Tour.” The film’s innovative blend of black-and-white and color footage, alongside period reenactments, impressed the jury.
Prix du scénario (Best Screenplay)Winner: Coralie Fargeat for “The Substance”
Coralie Fargeat‘s screenplay for “The Substance,” a bold and audacious body horror film, earned the Best Screenplay award. The film explores women’s experiences and the violence they face about ageing and beauty standards and is praised for its revolutionary message. “I really believe that movies can change the world, so I hope this movie will be a little stone to build new foundations,” said Fargeat. “I really think we need a revolution and I don’t think it has really started yet.”
Prix Spécial est attribué (Special Award for Best Screenplay)Winner: “The Seed Of The Sacred Fig” (Written and Directed by Mohammad Rasoulof)
Iranian filmmaker Mohammad Rasoulof was honoured with a special award for his screenplay, “The Seed Of The Sacred Fig.” Rasoulof, who fled Iran due to political persecution, received a standing ovation for his courageous and poignant storytelling.
Camera d’Or (Best First Film)Winner: “Armand” (Directed by Halfdan Ullmann Tøndel)
Halfdan Ullmann Tøndel‘s debut feature “Armand” won the Camera d’Or, recognizing the best first film across all sections. The film’s innovative storytelling and compelling narrative stood out among the competition.
Special Mention: “Mongrel” (Directed by Wei Liang Chiang and You Qiao Yin)
“Mongrel,” co-directed by Wei Liang Chiang and You Qiao Yin, received a special mention for its impressive direction and storytelling.
Short Film Palme d’OrWinner: “The Man Who Could Not Remain Silent” (Directed by Nebojša Slijepčević)
Nebojša Slijepčević’s short film “The Man Who Could Not Remain Silent” won the Short Film Palme d’Or. The film’s powerful narrative and impactful message captivated the jury.
Special Mention: “Bad For A Moment” (Directed by Daniel Soares)
Daniel Soares‘ “Bad For A Moment” received a special mention for its exceptional storytelling and direction.
Honorary Palme d’OrWinner: George Lucas
The legendary George Lucas was awarded the Honorary Palme d’Or for his outstanding contributions to the film industry. Presented by Francis Ford Coppola, the award celebrated Lucas’s influential career and enduring legacy in cinema.
“I’m just a kid who grew up in a vineyard in Modesto, California, who makes movies in San Francisco, with my friend Francis,” said Lucas. “It’s definitely a different world. I’ve actually never made a film in Hollywood as a director.”
The 77th Cannes Film Festival showcased a diverse array of films, highlighting the power of storytelling and the importance of cinema. From Sean Baker’s “Anora” to Payal Kapadia’s “All We Imagine As Light,” this year’s winners have set new benchmarks in filmmaking, ensuring that the magic of cinema continues to inspire and captivate audiences worldwide.
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After “Firebrand“, a period film about British royalty, Brazilian director Karim Aïnouz went back shooting in his country “Motel Destino“, presented in competition at the 77th Festival de Cannes.
Karim Aïnouz returns to his home province, Cearà, for a story of lust, sex, passion and colors between three people. All set in a Motel , which is home for desire and fantasies, Motel Destino is Aïnouz’s way to react to the “years of horror Brazil lived in”.
To quote the director: “Motel Destino is a portrait of characters fervently pursuing their aspirations and seeking to carve out their own destinies. It is also a love story about Heraldo, a young defiant outsider, and Dayana, a woman who dares to confront society’s expectations. Their encounter at Motel Destino ignites a vivid spark that challenges the constrained future society has laid out for them”.
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After two short films, “Bird” and “Fanny“, Norwegian director Halfdan Ullmann Tøndel presents his debut feature, “Armand“, in the Un Certain Regard section of the 77th Cannes Film Festival.**
Grandson of Ingmar Bergman and Liv Ullmann, Halfdan Ullmann Tøndel chooses to have by his side, actress Renate Reinsve, who, since her breakout role in “The worst person in the world“, is, film by film, showing her abilities in embodying different and multifaceted characters.
Taking place entirely in a school before the holidays, the film sees Renate Reinsve in the role of a mother being called in for a meeting at her son Armand’s school as something happened between him and his friend Jon.
“I thought it was both interesting and funny to use the idea of something «adult» that had happened between two kids as a base for the story” says Ullmann Tøndel in his press notes as he reveals that “he wanted to explore the grey areas of boundaries and how we deal with them in society nowadays”.
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For his first feature film, “The village next to paradise“, screening in the Un Certain Regard competition of the 77th Cannes Film Festival, director Mo Harawe decided to depict his home country, Somalia.
Following his acclaimed short films “Life on the Horn and Will My Parents Come to See Me“, the director explores his country’s potential to become a paradise.
By portraying the members of a family and their navigating through aspirations, ambitions and objectives, Mo Harawe managed to show Somalia from an insider’s perspective.
As for the title, the director Mo Harawe explains that it works on two levels: On the one hand, there is this village by the sea, where it’s very beautiful, so it relates to the idea of being “next to paradise”. There are lovely places in Somalia, with lovely, wild beaches. On another level, this name can represent Somalia itself; the country has such incredible potential. Somalia is a country “next to paradise”; it is potentially a kind of paradise, but for many reasons that potential isn’t being realized.
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After directing a successful short film, “Olla“, actress turned director Ariane Labed presents at the 77th Cannes Film Festival her debut feature, “September says“.
Based on Daisy Johnson’s 2020 novel’ Sisters’, the film stars the young though remarkable actresses Pascale Kann and Mia Tharia and, in the role of their mother, Rakhee Thakrar, well known for the Netflix series “Sex Education“.
“September says” depicts the loving but toxic relationship of codependence between two sisters, very close in age, the fragile but violent September and the most docile July.
Labed who admits to not remember whether she was always faithful to the book or not, as author Daisy Johnson gave her freedom to adapt it to screen as she felt right, explores power games and “how unconditional love in family can be very powerful and terribly dangerous”
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At the 77th Festival de Cannes, we interviewed Gints Zilbalodis who presents his new film “Flow”, a visually captivating journey showcased in the Un Certain Regard section.
From “Away” to “Flow”: Evolution of Storytelling Gints Zilbalodis reflects on how his experiences with “Away” influenced his approach to “Flow”. “With ‘Away,’ I improvised a lot, but for ‘Flow,’ I had a complete script,” he explains. “Writing is challenging for me, but I had to learn to rely on others.”
This shift marks a significant evolution in his storytelling, aiming for a more structured yet emotionally resonant narrative.
Technical Ambitions and Visual StorytellingDiscussing the ambitious technical aspects of “Flow,” Gints Zilbalodis reveals, “I come up with the movement of the camera first, and then what happens in the scene. It’s a film without dialogues, so I had to find other ways to convey the characters’ emotions, and one of these ways is the camera.” This innovative approach underscores the film’s visual storytelling, where every frame is meticulously crafted to evoke emotion.
A scene from “Flow” by Gints ZilbalodisThe Protagonist’s JourneyIn “Flow,” the protagonist is a cat, and its journey is both physical and emotional. Gints Zilbalodis elaborates on depicting the cat’s internal transformation, emphasizing two main fears the cat must overcome: water and the others. “These fears are linked, so I pushed the cat against these elements in a world that combines various environments to convey emotions. I start from the character and build a world around him,” he says, highlighting the symbiotic relationship between character development and world-building.
Integrating Music and Visuals Gints Zilbalodis, who also scored “Flow,” discusses his approach to integrating music with visual storytelling. “The music is very important in this film. I avoided using a theme score, opting instead to edit the film with music already in place,” he notes. Collaborating with composer Gurwal Coïc-Gallas, Zilbalodis created a rich musical landscape that complements the film’s visuals. “We recorded with a full orchestra, which was a great emotion for me. Some scenes are without music, where sound design plays a crucial role in immersing the audience into the world of ‘Flow.'”
The message behind “Flow”When asked about what he hopes audiences take away from “Flow,” Gints Zilbalodis shares, “I have my own idea of what the film means, but it’s hard to explain in words since the film has no words. I’d say that it’s important to trust others but stay independent at the same time.”
“Flow” is a testament to Gints Zilbalodis‘ unique vision and storytelling prowess. Through its visually stunning animation, evocative music, and profound themes, the film invites audiences to embark on a journey of fear, trust, and self-discovery. “Flow” is a groundbreaking example of contemporary animation that will undoubtedly spark discussions for times to come.
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Rúnar Rúnarsson opens the Un Certain Regard section of the 77th Cannes Film Festival with his new film “When the light breaks“. Set over one day, from one sunset to another, the film follows Una (Elín Hall) bonding with another girl, Klara (Katla Njálsdóttir) while grieving for the loss of a friend.
Through this story, Rúnar Rúnarsson explores the different ways people grieves and how there’s no better way or right way.
The key for the film and the multiple themes it explores is actress Elín Hall, who “has the talent of transmitting the unsaid things”.
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After six years from “Ash Is Purest White“, screening in competition at the 71st Cannes Film Festival, Chinese director Jia Zhang-Ke is back competing for the Palme d’Or with “Caught by the tides” at Cannes 77.
The film captures two decades in Chinese city of Datong thanks to some early footage the director shot in 2001, blended with scenes shot in 2023.
“Caught by the tides” tells the story of Qiaoqiao (Zhao Tao), a native of the city of Datong who embarks on a journey across the country only to achieve the final closure with soon to be ex boyfriend, Brother Bin.
To quote Jia Zhang-Ke’s words in his director notes: “I gave the generation shown in the film a name when I chose the Chinese title: the literal meaning of Fengliu Yidai might be “A Drifting Generation”, but the term Fengliu (literally, “Wind and Waves”) has a strong romantic connotation. The camera has captured things we thought we’d forgotten, but they are the things which made us what we are today.”
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PODCAST | Il Daily Show firmato FRED Film Radio direttamente dalla 77esima edizione del Festival Internazionale del Cinema di Cannes, in replica alle ore 12.00 e 17.00 sul canale Entertainment e alle ore 14.00 e 16.00 sul canale Italiano, per parlare degli eventi e delle curiosità del Festival, insieme a Simone Soranna, Angela Prudenzi e Chiara Nicoletti.Da non perdere!
Per ascoltare questa intervista, clicca su ► sopra la foto
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Belgian director Leonardo Van Dijl tells us more about his beautifully shot, sensitive and caring first feature film “Julie Keeps Quiet”, which premiered at the Critics’ Week.
“Through the character of my short film Stephanie, which was a gymnist, I began to understand how the world is educating girls, how they treat girls and approach even psychology. (When I chose to focus on a girl who wants to excel at her sport), people asked: why?. Well, she wants to be a good gymnist, she’s a perfectionnist. No, but really, why?. There is no reason. Maybe you should write a suppressive mother who is forcing her, or maybe it’s a story about jealousy, where she wants to be like that other girl she looks up to. But she just wants to be good at what she does, like I want to be a good director. I really find that so bizarre.”
“When there’s immense pressure on you, on so many levels, you need to keep up, you need to stay focused, you go into survival mode. It’s not a healthy space to be in, so for me it was important to, little by little, get her out of this survival mode and bring her back to the centre, where she allows herself to be what she wants to be.”
On the beautiful cinematography, the framing, the lighting: “To begin with, we shot on film, which was kind of a risk and everybody called us crazy, because we didn’t have much budget, so to put that budget into shooting on celluloid was kind of a battle, but me and the DoP Nicolas Karakatsanis felt it was important, because we felt we could not take the silence of Julie for granted. It was like everything should be a deliberate choice, it should be there for a reason. It should only be there if we need it, so we tried to edit it, already on the set. We really worked with the light: in the beginning, there is winter, and then the sun starts shining and things start melting, and Julie is finding her agency again. For the framing, it thought: this movie should be incredibly beautiful, but I tried to hide the beauty, in a way… because it can also create distance, if things are beautiful just for the sake of being beautiful, so I really tried to care, and to be generous for Julie, because she needs it, so I tried to surround her with secret codes, which were a way of saying: Julie, I love you.”
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In competition at the 56th edition of the Quinzaine des cinéastes, “The Hyperboreans“, the new film of the Chilean artistic duo Cristóbal León and Joaquín Cociña.
“The Hyperboreans”: a zone where laws of logic twist“The Hyperboreans“is not like any other film. It delves into history, politics, cinema, and the process of movie-making. The movie takes us into the imaginative world of directors Cristóbal León and Joaquín Cociña. The story revolves around actress and psychologist Antonia Giesen, who decides to film a script that was revealed by a voice inside the mind of one of her patients. Seeking collaboration with directors León & Cociña, the film becomes a blend of theatre, science fiction, animation, and fascinating biopics, filled with parallel worlds and haunted by the spectre of a Chilean Nazi writer as a demonic figure.
At a certain point in the film, Cristobal‘s character tells Antonia, “You have just crossed into the zone where laws of logic twist.” This phrase perfectly encapsulates the essence of the movie. “I would say yes! It is also a phrase that refers to dreams, and I think that films are collective dreams,” says Cristóbal León.
The absurdThe two Chilean directors also play a role in this very bizarre film of theirs by impersonating themselves in a very unique way. “We thought it was funny to include us!” León & Cociña revealed, “We always start our films with an absurd, stupid idea, so why not?”
We cannot avoid asking the two directors how to write a film like “The Hyperboreans“: “We aimed to create a dialogue between political terror and fantasy, between organic, ritualism and material entropy. “*The Hyperboreans“carries forward an idea that has run through all our works, starting from “Lucía”, our first short film, in which we tried to make a film about the process of drawing and erasing.*”
Miguel SerranoThe Nazi spectre that tells his story is Miguel Serrano, a controversial figure in Chilean history: a diplomat, writer, occultist, and fascist activist. Serrano became a prominent figure in the neo-Nazi movement as an exponent of Esoteric Hitlerism.
But why add this figure to the film? “We’re fascinated by characters that are hard to define,” Joaquin Cocina tells us. “Serrano had met Jung, Hesse, he was fascinated by cinema and was an intellectual, but above all, he is a character about whom little is known… I don’t know, I always thought that a film about Hitler’s nanny would be more interesting than about Hitler.”
“The Hyperboreans“is an extraordinary cinematic experience that transcends traditional filmmaking. Through a bold combination of live-action, stop-motion, and puppetry, this ambitious psychodrama delves into the controversial ideas of the right-wing Chilean thinker Miguel Serrano. With a captivating blend of Chilean history, occultism, right-wing conspiracy theories, Jungian psychology, and silent film techniques, directors Cristobal Leon and Joaquin Cocina showcase their unparalleled mastery of the craft. The film is a thought-provoking journey that challenges and captivates audiences in equal measure.
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As jury president of Rivera International Film Festival 2024, the director Andrew Dominik (“The Assassination of Jesse James by the Coward Robert Ford”, “Blonde”) tells us what “power have films to evoke a range of emotions in viewers, from worry to excitement. A good film takes place in the viewer’s mind and stomach, creating a personal and immersive experience“.
For Andrew Dominik, however, the importance of cinema is not the same nowadays as in the past. “Cinema is everywhere. Its golden period was the 70s There were film really vital. Everywhere in the world, cinema was vital. And it’s changed now because it’s become a much bigger business which is currently failing“.
“In the 70s cinema was not a big business, but small – director Andrew Dominik says – And corporations bought movie studios because they wanted to have something cool. They wanted to go to the Oscars or meet actresses or go to good parties, and their real business was like making cars or steel. But then as all those those businesses failed or they moved offshore and they figured out how to release movies on mass, then cinema became a much bigger business. And a corporate mentality was applied to filmmaking, and films became much more risk averse. And I think that it just continued on that path“.
How does streaming influence this situation? “Except for Netflix, it’s not a profitable business – Andrew Dominik replies – But it seems to they seem to be destroying the studio system, which I don’t know if that’s a good thing. There’s a state of flux and nobody really knows where it’s going. And if people did, they’d know what to do“.
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Fred Film Radio presents an in-depth conversation with director Kevin Mayuga about his film “When This is All Over” at 26th Far East Film Festival in Udine. As the interviewer, I had the privilege of exploring the creative process behind this thought-provoking exploration of life during the pandemic and its depiction of societal class divides.
Kevin Mayuga‘s presence at the Udine film festival marked his inaugural experience, a sentiment he expressed with genuine gratitude and excitement. His enthusiasm for the festival’s atmosphere set a positive tone for our discussion.
Delving into the thematic depth of “When This is All Over“, I probed Kevin Mayuga about the unique blend of surrealism and reality portrayed in the film. He shared personal insights into his creative process, revealing how his own existential crises during the pandemic sparked the exploration of societal class divisions and the guilt of privilege.
Kevin Mayuga‘s candid reflection on his personal experiences and observations during the pandemic added layers of authenticity to the film’s narrative. His intention to provoke empathy and social awareness among viewers was evident, as he aimed to challenge societal norms and encourage introspection.
Transitioning to discussions about character development and the film’s ending, Kevin Mayuga shed light on the protagonist’s journey, which mirrored his own introspective exploration. Drawing from personal experiences and encounters, he crafted a narrative that resonated with authenticity and emotional depth.
The symbolism behind the protagonist’s journey, particularly his confrontation with his inner child and ego, was a topic of particular interest. Kevin Mayuga‘s interpretation of this symbolic journey as a process of self-discovery and healing added depth to the film’s thematic exploration.
The conversation took an intriguing turn as we discussed parallels between Kevin Mayuga‘s film and other contemporary works, such as Jennifer Lopez’s recent film. Mayuga’s insights into the universal themes of self-discovery and healing resonated with the broader cultural landscape, highlighting the film’s relevance and impact.
In exploring Kevin Mayuga‘s inspirations beyond cinema, his passion for music, particularly house and techno, emerged as a significant influence on the film’s aesthetic and narrative. His eclectic taste in films, ranging from party films of the ’90s to contemporary social commentaries, provided valuable insights into his creative process.
In closing, I expressed gratitude to Kevin Mayuga for sharing his insights and experiences. Our conversation illuminated not only the creative process behind “When This is All Over” but also Kevin Mayuga‘s commitment to storytelling that challenges and inspires audiences. As our discussion concluded, it was evident that Kevin Mayuga‘s unique perspective and creative vision would continue to leave a lasting impact on the world of cinema.
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At the 26th Far East Film Festival in Udine, I had the privilege of engaging in an insightful conversation with director Tony Bui about his film “Three Seasons“. Throughout our dialogue, Tony Bui provided deep reflections on the intricate process of creativity, the challenges and triumphs of film restoration, and his unwavering dedication to storytelling.
As our conversation unfolded, I delved into the symbolism behind the title “Three Seasons“, prompting Tony Bui to expound upon the nuanced layers of meaning embedded within. His elucidation of Vietnam’s seasonal transitions as metaphors for renewal and hope provided a poignant insight into the thematic richness of his work.
Tony Bui‘s candid reflections on the arduous journey of restoring the film after a quarter-century resonated deeply. His admission of initially seeing the film through a critical lens, clouded by perceived imperfections, before rediscovering its beauty and significance during the restoration process, offered a profound testament to the transformative power of revisiting one’s own work.
Transitioning to discussions on audience reception and the enduring relevance of “Three Seasons“, Tony Bui‘s gratitude for the film’s resonance across time and cultures was palpable. His emphasis on the universal power of storytelling to transcend barriers and evoke genuine emotion underscored the timeless appeal of cinema as a medium of artistic expression.
As we delved into Bui’s upcoming project centered on the iconic “Napalm Girl” photograph, his passion for storytelling and commitment to shedding light on impactful narratives became evident. His unwavering dedication to exploring the human stories behind historical events spoke volumes about his role as a filmmaker with a profound sense of purpose.
In exploring inspirations beyond the realm of cinema, Tony Bui‘s reverence for the vibrant intellectual community at Columbia University, where he currently teaches, was evident. His interactions with esteemed colleagues and bright students served as a wellspring of inspiration, fueling his creative endeavors and enriching his perspective on storytelling.
In closing, I expressed heartfelt gratitude to Tony Bui for generously sharing his insights and experiences. Our dialogue illuminated not only the creative process behind “Three Seasons” but also Bui’s unwavering commitment to crafting stories that resonate deeply with audiences across generations. As the conversation drew to a close, it was evident that Bui’s passion for storytelling and his belief in the transformative power of cinema would continue to inspire audiences for years to come.
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At the 26th edition of the Far East Film Festival in Udine, Fred Film Radio, had the opportunity to interview Félix Chong, the director of “The Goldfinger.” The conversation started with a light-hearted question about Monty Python, revealing Félix Chong‘s admiration for the comedy group and his inclination towards injecting humor into his films. I then delved into the significance of reuniting Tony Leung and Andy Lau after 21 years, prompting Chong to emphasize the suitability of their roles in “The Goldfinger” and the evolution of their acting prowess over the years.
Transitioning to the character development in the film, I probed Félix Chong about his decision to portray Henry Shin as an enigmatic figure, drawing parallels to real-life events such as the downfall of the Carian Group in 1983. Félix Chong explained the meticulous process of character creation, highlighting the collaborative efforts between himself, Tony Leung, and the production team to bring Eric Cheen to life on screen.
As the conversation progressed, I explored Félix Chong‘s working relationship with the seasoned actors, Leung and Lau. Félix Chong described the demanding yet rewarding nature of collaborating with such professional talents, likening them to high-performance vehicles that accelerate with every challenge. He also shared insights into Tony Leung‘s transformation into his character, emphasizing the emotional depth required to drive his performance.
Reflecting on pivotal moments in his career, Chong credited “Infernal Affairs” as a defining milestone that allowed him to carve out his creative space as a screenwriter-turned-director. He expressed gratitude for the success of the film, which validated his innovative approach to storytelling and marked a significant achievement in his professional journey.
In conclusion, I thanked Félix Chong for the insightful conversation, highlighting his contributions as the director of “Goldfinger” and acknowledging the depth of his cinematic vision. Through our dialogue, audiences gained valuable insights into Félix Chong‘s creative process, collaborative ethos, and the transformative power of filmmaking.
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Fred Film Radio reporting from the 26th edition of the Far East Film Festival in Udine. Today, I had the pleasure of speaking with Adrian Teh, the director of “Reversi,” along with actors Beto Usyairy and Shiquin Kamal. This festival, renowned for its celebration of Asian cinema, has brought together filmmakers and enthusiasts from across the globe, and it’s a privilege to be part of it.
Adrian Teh expressed his delight at being back in Udine, a town he holds dear, and extended his congratulations to the festival organizers. Shiquin Kamal shared her excitement at participating in her first film festival and praised the charm of Udine. Beto Usyairy echoed their sentiments, emphasizing the warm reception they received from the locals and expressing his gratitude for the opportunity to be part of an international event.
Turning to the film itself, I was struck by its departure from the directors’ previous works and its exploration of complex themes such as time travel. Adrian Teh revealed his longstanding fascination with sci-fi and time-travel narratives, which served as the inspiration for “Reversi.” He emphasized his desire to offer a fresh perspective on the genre by introducing the concept of irreversible consequences for time travelers, a departure from the typical portrayal of consequence-free time travel.
Shiquin Kamal shared her initial reservations about taking on her character, citing its emotional weight and complexity. However, she praised Adrian Teh’s persuasive abilities and expressed her satisfaction with her performance. Beto Usyairy echoed her sentiments, describing his experience as an honor and emphasizing the collaborative effort behind the film.
In discussing the film’s title, “Reversi,” Adrian Teh offered insight into its significance, highlighting its thematic resonance with the narrative’s central message of enduring love. He expressed his hope that the film’s title would evoke the idea of irreversible love amidst the backdrop of time manipulation.
I also had the opportunity to discuss the film’s selection as the sole Malaysian entry at the festival. Adrian Teh expressed his pride and gratitude for the recognition, underscoring the significance of representing Malaysian cinema on the international stage.
In conclusion, it’s clear that “Reversi” represents a significant departure for Adrian Teh, exploring new thematic territory while maintaining his signature storytelling style. The film’s selection at the Far East Film Festival is a testament to its quality and relevance, and I look forward to seeing its reception by audiences worldwide. This is Laura Della Corte signing off from the Far East Film Festival in Udine.
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Fred Film Radio presents an exclusive interview from the 26th edition of the Far East Film Festival in Udine. Today, I had the honor of sitting down with Chiu Fusheng, the producer behind the renowned film “Raise the red lantern“, alongside the esteemed director Zhang Yimou and chairman Arthur Chew. Our conversation delved into the significant contributions of Chinese cinema, television, and the rich cultural heritage of both Taiwan and China to the global stage.
Chiu Fusheng articulated his vision of merging the cultural roots of Taiwan, China, and Hong Kong, emphasizing the importance of understanding and unity among these regions. He shared insights into his journey of distributing films across borders, advocating for messages of compassion and empathy in storytelling.
Reflecting on the tumultuous historical backdrop of his career, spanning the Vietnam War, Taiwan’s Chiang Ching-kuo era, and China’s reform period, Chiu Fusheng underscored the role of filmmakers in shedding light on societal issues and advocating for peace. He spoke candidly about the collaborative process with acclaimed directors like Zhang Yimou and Johnnie To, prioritizing creative freedom and expression.
Our discussion also explored the evolving landscape of Chinese cinema on the global stage, highlighting the shift towards individualized collaborations and storytelling that resonates with diverse audiences worldwide. Chiu Fusheng expressed optimism about the future of Asian media, citing advancements in technology and the rise of independent platforms.
As our conversation drew to a close, we delved into the transformative power of international collaboration in shaping the future direction of Chinese cinema and media. Chiu Fusheng emphasized the importance of individual expression and the role of festivals like Far East in fostering cultural exchange and understanding.
In closing, I expressed gratitude to Chiu Fusheng for his invaluable insights and contributions to the film industry. His dedication to promoting cross-cultural dialogue and understanding serves as a beacon of hope in an increasingly interconnected world.
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At the 26th edition of the Far East Film Festival in Udine, I had the opportunity to delve into a thought-provoking conversation with Sasha Chuk, the talented director behind “Fly Me to the Moon“. This poignant film tackles a myriad of complex themes, including immigration, poverty, addiction, and family dynamics, all while maintaining a delicate balance of realism and empathy.
Sasha Chuk’s approach to navigating such sensitive topics is deeply rooted in her personal experiences and observations. She revealed that the heart of the film lies in the intricate relationship between the two sisters, particularly their tumultuous connection with their father. This central focus allowed Sasha Chuk to explore the multifaceted dynamics of family life with nuance and authenticity.
Drawing from her own upbringing as an immigrant who moved to Hong Kong at a young age, Sasha Chuk infused the film with a sense of authenticity and universality. She wanted to challenge stereotypes and stigma surrounding the immigrant experience, shedding light on the common struggles and triumphs faced by individuals navigating cultural and societal barriers.
The portrayal of drug addiction within the film adds another layer of complexity to the narrative, providing insight into the inner turmoil and external pressures faced by the characters. Sasha Chuk‘s decision to include this element was a deliberate one, intended to deepen the audience’s understanding of the characters’ motivations and challenges.
One of the most remarkable aspects of “Fly Me to the Moon” is its ability to span multiple decades, offering a poignant glimpse into the evolution of the characters and their relationships over time. Sasha Chuk masterfully navigates these temporal shifts, weaving together a rich tapestry of memories, emotions, and experiences that resonate long after the credits roll.
Throughout our conversation, Sasha Chuk emphasized the importance of capturing intimate moments shared by the family, even amidst the hardships they face. Scenes like the playful ketchup lipstick or the quiet elevator ride serve as poignant reminders of the resilience and humanity that lie at the core of the characters’ journeys.
Chuk’s hope for “Fly Me to the Moon” extends far beyond the borders of Hong Kong. She envisions the film sparking meaningful conversations and resonating with audiences around the world, regardless of their background or experiences. By shining a light on universal themes of identity, belonging, and resilience, Chuk invites viewers to reflect on their own lives and the connections that bind us all together.
In conclusion, my conversation with Sasha Chuk provided a fascinating glimpse into the creative process behind “Fly Me to the Moon” and the profound themes it explores. Through her thoughtful storytelling and deeply personal approach, Sasha Chuk has crafted a film that speaks to the human experience in all its complexity and beauty.
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Since the recent announcement of Isabelle Huppert‘s appointment as President of the Jury for the 81st Venice International Film Festival, fresh revelations have emerged, further heightening anticipation surrounding this prestigious cinematic event. Alongside Huppert’s esteemed role, two other noteworthy developments promise to enrich the festival experience, setting the stage for an unforgettable celebration of cinema.
Peter Weir: Golden Lion for Lifetime AchievementThe board of La Biennale di Venezia awarded Australian director and screenwriter Peter Weir, one of the “great directors of modern cinema”, with the Golden Lion for Lifetime Achievement at the 81st Venice International Film Festival. Weir’s illustrious career, spanning over four decades, has left an indelible mark on cinema, with iconic works such as “Dead Poets Society,” “The Truman Show,” and “Master & Commander” captivating audiences worldwide.
Peter Weir and Jim Carrey on the set of The Truman ShowIn response to this esteemed accolade, Peter Weir expressed, “The Venice International Film Festival and its Golden Lion for Lifetime Achievement are part of the folklore of our craft. To be singled out as a recipient for a lifetimes work as a director is a considerable honour.”
Alberto Barbera, the Festival’s Artistic Director, lauded Weir’s contributions, stating, “With a total of only thirteen movies directed over the course of forty years, Peter Weir has secured a place in the firmament of the great directors of modern cinema.”
Barbera highlighted Weir’s ability to tackle diverse themes with sensitivity and innovation, underscoring his enduring impact on the industry: “In his films, Weir combines reflections on personal themes and a need to reach as vast an audience as possible. Despite the diversity of the topics he addresses, it is not difficult to discover a constant in his daring, rigorous, and spectacular film opus: a sensitivity that allows him to deal with highly up-to-date topics”.
Alberto Barbera’s Reappointment as Artistic DirectorIn another significant development, Alberto Barbera has been reappointed as the Artistic Director of the Cinema Department for 2025 and 2026. Barbera’s tenure, marked by a keen eye for talent and a commitment to advancing the culture of cinema, has garnered widespread acclaim.
Pietrangelo Buttafuoco, President of La Biennale, expressed confidence in Barbera’s leadership, citing his expertise, professionalism, and passion: “I have great respect for the expertise, professionalism and passion he has demonstrated in the years that he has directed the Venice International Film Festival, which has enhanced the prestige of the oldest film festival in the world. I am extremely pleased that La Biennale will continue down this path with him.”
Alberto BarberaBarbera’s distinguished career in film criticism and festival direction has garnered him several accolades, such as a Special Tribute from the Gotham Awards and the International Achievement in Film Award from Variety. Since 2020, he has become a distinguished Academy of Motion Picture Arts and Sciences member, which awards the prestigious Oscars. Additionally, dince 2019, Variety has recognized him as one of the top 500 most influential individuals in the entertainment industry.
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Isabelle Huppert, the renowned French actress known for her exceptional performances in films such as “Elle,” “The Piano Teacher,” and “La Cérémonie,” has been chosen to preside over the International Jury at the prestigious 81st Venice Film Festival. Scheduled from August 28 to September 7, 2024, this iconic event will witness Huppert and her distinguished panel awarding the prestigious Golden Lion for Best Film alongside other coveted accolades.
A Celebrated ChoiceThe Biennale di Venezia’s board of directors unanimously acclaimed the decision to appoint Isabelle Huppert as the President of the International Jury of the 81st Venice Film Festival. Alberto Barbera, the Director of the Venice Film Festival, expressed his confidence in Huppert’s discerning eye and unwavering dedication to the craft of cinema: “Her enormous willingness to constantly put herself on the line, a sign of her uncommon intelligence, together with her ability to look at cinema beyond geographic and mental boundaries, make her an ideal President of the Jury in a festival open to the entire world such as the Venice Film Festival.”
An Honor to PresideIn accepting the prestigious role of Jury President, Isabelle Huppert expressed her gratitude and enthusiasm for the opportunity, stating: “There is a long and beautiful history between the Festival and I. Becoming a privileged spectator is an honour. More than ever, cinema is a promise. The promise to escape, to disrupt, to surprise, to take a good look at the world, united in the differences of our tastes and ideas.”
A Remarkable Career Isabelle Huppert’s journey in acting is nothing short of extraordinary. From her early accolades at Cannes for films like “Violette” to her Venice triumphs with “Story of Women” and “La Cérémonie,” Huppert has consistently captivated audiences and critics alike with her nuanced portrayals. Huppert willingness to take on challenging roles and collaborate with visionary directors has earned her international acclaim, including prestigious awards at the Festival de Cannes, the Venice Film Festival, and the Berlinale. Alberto Barbera lauded her immense contributions, stating, “Isabelle Huppert is an immense actress, demanding, curious and of great generosity. The muse of numerous great filmmakers, she has never shirked the invitation of young or not-so-famous directors who have seen in her the ideal interpreter of their stories.”
Prizes at StakeOn the pivotal night of September 7, 2024, under Huppert’s guidance, the International Jury will bestow an array of official awards upon the standout feature-length films in competition. These prestigious honours include the coveted Golden Lion for Best Film, the Silver Lion – Grand Jury Prize, and the Silver Lion – Award for Best Director. The International Jury will also confer accolades such as the Coppa Volpi for Best Actor and Best Actress, the Award for Best Screenplay, and the Special Jury Prize, recognizing excellence across various cinematic disciplines. The Marcello Mastroianni Award for Best New Young Actor or Actress will spotlight emerging talent globally.
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The 77th Festival de Cannes, a renowned film festival, is all set to begin with a grand opening ceremony. Legendary American actress Meryl Streep will grace the occasion as the esteemed guest of honour at the Grand Théâtre Lumière on Tuesday, May 14. Renowned for her unparalleled contributions to cinema, Streep’s presence promises to elevate the opening ceremony of this prestigious event. The Festival will culminate on Saturday, May 25, with the highly anticipated awards presentation led by Jury President Greta Gerwig.
Honorary Palme d’OrIn recognition of her outstanding career and indelible mark on the world of film, Meryl Streep will be awarded the Honorary Palme d’Or during the ceremony. She is among the elite actors, including Jeanne Moreau, Catherine Deneuve, and Jane Fonda, who have received this prestigious award. Streep’s return to the Croisette after 35 years since her last appearance in Cannes is highly anticipated, and she is expected to impact the Festival significantly.
Expressing her gratitude for the prestigious accolade, Meryl Streep remarked, “I am immeasurably honoured to receive the news of this prestigious award. To win a prize at Cannes for the international community of artists has always represented the highest achievement in filmmaking. To stand in the shadow of those who have previously been honoured is humbling and thrilling in equal part. I so look forward to coming to France to thank everyone in person this May!”
Something in us of Meryl StreepIris Knobloch and Thierry Frémaux, the organizers of the Festival de Cannes, praised Meryl Streep for her long-lasting influence on cinema, saying, “We all have something in us of Meryl Streep! We all have something in us of “Kramer vs. Kramer”, “Sophie’s Choice”, “Out of Africa”, “The Bridges of Madison County”, “The Devil Wears Prada” and “Mamma Mia!” Because she has spanned almost 50 years of cinema and embodied countless masterpieces, Meryl Streep is part of our collective imagination, our shared love of cinema.”
Queen of CinemaThroughout her illustrious career, Meryl Streep has showcased an unwavering commitment to her craft, embodying various characters. From historical epics like “Out of Africa” to dramas like “Evil Angels,” Streep’s ability to inhabit complex roles has earned her numerous accolades, including a record-breaking 21 Oscar nominations.
Meryl Streep on the The Laundromat red carpet – ph Ilaria CostanzoAdvocate of Women in FilmThroughout her career, Meryl Streep has always been vocal in denouncing the precarious position of women in the film industry.
Aware of the issues surrounding the representation of women in Hollywood movies, she’s always been keen to portray all their facets in their complexity and fragility. From Stephen Daldry’s “The Hours” and Robert Altman’s “The Last Show” to two unexpected and funny roles: the cantankerous editor-in-chief of a fashion magazine in “The Devil Wears Prada” and Donna, a hippie who marries off her daughter in the musical “Mamma Mia!”, Streep continues to challenge stereotypes and push boundaries.
She has also starred in biopics like “The Iron Lady” and “Julie & Julia” and political satires such as “Lions for Lambs,” “Pentagon Papers,” and “Don’t Look Up.”
As Meryl Streep takes centre stage at the Grand Théâtre Lumière, she embodies the spirit of cinematic excellence and artistic innovation. Her presence at the 77th Festival de Cannes is a testament to the enduring power of storytelling and cinema’s profound impact on our collective consciousness.
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Renowned filmmaker Jane Campion, hailed for her groundbreaking contributions to cinema, is set to receive the prestigious Pardo d’Onore Manor Award at the 77th Locarno Film Festival. This esteemed accolade celebrates Campion’s exceptional achievements in the world of filmmaking and recognizes her unparalleled creativity and artistic vision.
The Trailblazing Jane CampionA series of remarkable milestones and groundbreaking achievements mark Jane Campion‘s journey in the world of cinema. From being the first woman to win the Palme d’Or at the Cannes Film Festival for “The Piano” to receiving multiple Academy Award nominations, including winning Best Director for “The Power of the Dog,” Campion has carved a path of innovation and excellence.
Benedict Cumberbatch -The Power Of The DogA Unique Voice in CinemaCampion’s cinematic repertoire is a testament to her unwavering commitment to artistic freedom and storytelling prowess. Whether delving into the complexities of human relationships in “The Piano” or exploring the darker aspects of the human psyche in “In the Cut,” Campion’s films resonate with audiences on a profound level. With each project, she pushes the boundaries of storytelling, offering fresh perspectives and thought-provoking narratives.
Tribute at Locarno77The Locarno Film Festival‘s decision to honour Jane Campion with the Pardo d’Onore Manor Award is a fitting tribute to her unparalleled contributions to cinema. As part of the festival’s tribute program, audiences will have the opportunity to experience two iconic works from Campion’s oeuvre: “An Angel at My Table” and “The Piano,” presented in a new 4K restoration on the Piazza Grande. Additionally, a panel conversation with Campion promises to offer insight into her creative process and artistic vision.
Giona A. Nazzaro on Jane CampionGiona A. Nazzaro, Artistic Director of the Locarno Film Festival, aptly captures the essence of Campion’s impact on contemporary filmmaking: “Campion has sustained genuine complexity in her artistic practice, free to weave a dialogue with audiences and with the film industry in which she works without ever compromising on her vision and her artistic ambitions.” Nazzaro added: “Jane Campion’s artistic freedom and willingness to take risks to find new and deeper insights into the richness and complexities of human experience make her an unparalleled point of reference for anybody who thinks of film as an instrument of expression and emancipation.”
The 77th Locarno Film Festival will take place from 7 to 17 August 2024.
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The anticipation for the 77th Festival de Cannes is reaching a fever pitch as the full jury lineup has been announced, featuring a stellar cast of industry. This esteemed panel will be led by jury president Greta Gerwig to select the winners, including the prestigious Palme d’Or, from an impressive lineup of films vying for recognition. Let’s delve into the details of the jury members and the exciting competition lineup that awaits cinephiles at Cannes 2024.
The JuryHeading the 77th Festival de Cannes jury is acclaimed director, screenwriter, and actress Greta Gerwig, known for her groundbreaking contributions to American and international cinema. Joining her are a diverse group of industry stalwarts, including Turkish screenwriter and photographer Ebru Ceylan, American actress Lily Gladstone, French actress Eva Green, Lebanese director and screenwriter Nadine Labaki, Spanish director and screenwriter Juan Antonio Bayona, Italian actor Pierfrancisco Favino, Japanese director Kore-eda Hirokazu, and French actor and producer Omar Sy. This dynamic ensemble brings a wealth of talent and experience to the table, ensuring a comprehensive and fair assessment of the competing films.
The Jury of the 77th Festival de CannesGreta Gerwig – PresidentGreta Gerwig has made a name for herself in the film industry as an actress, screenwriter, and director in just fifteen years. Her journey began with co-writing and co-directing projects like “Hannah Takes the Stairs” and “Nights and Weekends.” Her breakthrough came with “Frances Ha” and “Mistress America.” Her solo directorial debut, “Lady Bird,” earned Gerwig widespread acclaim and five Oscar nominations. “Little Women” further established her as a visionary storyteller committed to challenging traditional narratives about women. With “Barbie,” Gerwig achieved an unprecedented milestone in cinematic history, making a billion dollars at the box office.
Competition Lineup HighlightsThe competition lineup for the 77th Festival de Cannes is packed with highly anticipated films from acclaimed directors around the globe. Standout entries include Francis Ford Coppola‘s epic passion project “Megalopolis”, Yorgos Lanthimos‘ new film “Kinds of Kindness”, Andrea Arnold‘s “Bird,” and David Cronenberg‘s “The Shrouds.” Additionally, Ali Abbasi‘s Donald Trump biopic “The Apprentice” promises to spark discussion and intrigue among audiences.
New Additions to the CompetitionThree new films have recently been added to the competition section, further enriching an already impressive lineup. Michel Hazanavicius‘ “The Most Precious of Cargoes,” Emanuel Parvu‘s “Trois Kilomètres Jusqu’à La Fin du Monde,” and Mohammad Rasoulof’s “The Seed of the Sacred Fig” join the fray, offering fresh perspectives and captivating narratives.
Closing Ceremony and AwardsThe 77th Festival de Cannes will culminate with the closing ceremony on May 25, when the prestigious Palme d’Or winner will be announced. Cinephiles worldwide will undoubtedly be keenly watching the jury’s deliberations as they determine the recipients of this coveted honour and other prestigious awards.
With an illustrious jury lineup and a diverse array of films vying for top honours, the 77th Festival de Cannes promises to be a celebration of cinematic excellence and creativity. As the world eagerly awaits the unveiling of the winners, anticipation is running high for what is sure to be an unforgettable festival experience.
FRED Film Radio will be on the Croisette during the whole festival. Stay tuned for all the latest updates and highlights from the 77th Festival de Cannes.
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Anticipation for the 77th Festival de Cannes is reaching a crescendo, as additions to the lineup have recently been announced. These additions further enrich a program that will undoubtedly win over both audiences and critics.
Un Certain RegardThe Certain Regard section, known for its bold and innovative cinema, welcomes a trio of compelling films. Leading the charge is “When the Light Breaks” by acclaimed Icelandic filmmaker Rúnar Rúnarsson, set to open the Certain Regard section. Joining it are “Niki,” the directorial debut of French actress Céline Sallette, and the animated film “Flow” by Latvian director Gints Zilbalodis.
Cannes PremiereThe Cannes Premiere program sees the addition of two poignant French films, further enriching its cinematic tapestry. Gaël Morel presents “Vivre, Mourir, Renaître,” while Jessica Palud brings “Maria,” a compelling exploration of the tragic life of Maria Schneider, known for her iconic role in “The Last Tango in Paris.”
“Maria,” Jessica PaludSpecial Screenings
Several international films have been added to the Special Screenings section lineup. Among them are a Chinese documentary feature directed by Lou Ye that takes place during the pandemic, an Arnaud Desplechin film called “Spectateurs” which centres around the director’s youth and stars Mathieu Amalric, “Nasty” by Romanian director Tudor Giurgiu, and Oliver Stone‘s “Lula,” which is about former Brazilian president Luiz Inácio Lula da Silva.
“Spectateurs,” Arnaud DesplechinOut of Competition
A film adaptation of “The Count of Monte-Cristo” by Alexandre de La Patellière and Matthieu Delaporte, featuring Pierre Niney, Anaïs Demoustier and Pierfrancesco Favino, has been included in the Out of Competition lineup.
“Le Comte de Monte-Cristo,” Alexandre de La Patellière and Matthieu DelaporteOfficial CompetitionThe Official Competition segment welcomes esteemed filmmakers Michel Hazanavicius, Mohammad Rasoulof, and Emanuel Parvu, enriching the lineup with their distinct voices and compelling narratives. Hazanavicius’ animated feature, “The Most Precious of Cargoes,” offers a poignant exploration of humanity amidst the backdrop of World War II.
“The Most Precious of Cargoes,” Michel HazanaviciusThe plot of “The Seed of the Sacred Fig,” the latest film by Iranian filmmaker Mohammad Rasoulof, is being kept secret. Rasoulof faced opposition from the Iranian government, which prevented him from attending the Cannes Film Festival last year, where he was invited to serve on the jury of Un Certain Regard. Iranian authorities confiscated his passport after he presented “A Man of Integrity” at Telluride, and he was subsequently sentenced to prison. After months of detention due to his health condition, he was recently released.
The last film in the competition is “Three Kilometers to the End of the World” directed by Emanuel Pârvu. The movie revolves around Adi, a 17-year-old boy from a secluded village in the Danube Delta. Adi’s parents make significant financial sacrifices by sending him to study in the nearby city of Tulcea. However, when they discover a difficult truth about their son, they deny him the unconditional love he expected from them.
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“Touched“ by Claudia Rorarius is participating to the 37° Bolzano Film Festival, after premiering in the Competition Cineasti del presente at the 2023 Locarno Film Festival, where it won the Pardo award to the best actors.
In competition,”Touched” explores the nuances between obsession, possession, co-dependence and care in a love story between a paraplegic man, Alex (Stavros Zafeiris) and his caregiver Maria, played by model and activist Isold Halldórudóttir.
As the title suggests, the film depicts the different meanings of being actually “touched” by someone. The physical touch that can be either sexual or caring and then, the emotional touch, even more difficult to analyze.
Inspired by her experience with her father, who became paraplegic due to an illness, Claudia Rorarius explains that she decided to opt for a love story as it would allow her to also explore the sexual part and the physical interaction between the two protagonists.
To actually quote Claudia Rorarius in her director’s note: “A daring film about the emotional bond between outsiders, defying norms on disability and sexuality. As Maria, a fat woman, embraces her sensuality, the film explores the desire for love, closeness and fulfillment. Celebrating diverse bodies and breaking taboos”.
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After premiering at the Berlinale 2023 in the Generation Kplus and traveling along Festivals, “Dancing Queen“ lands at the 37th Bolzano Film Festival in the Lili section.
The film is a coming-of-age telling the story of nerdy Mina who decides to learn very quickly how to dance in order to impress the school’s newcomer and famous dancer Edvin.
Director Aurora Gossé, in Bolzano to show the film to the kids participating in the Lili section, describes the film as “for all ages, a feel good movie about dancing and being true to yourself”.
With a delicate and attentive touch, “Dancing Queen” depicts all the extremes of adolescence by also exploring the worst sides, including eating disorders.
At the 37th Bolzano Film Festival, Aurora Gossé has also participated in a BFFB talk about cinema for a younger audience.
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At the 39 Lovers Film Festival, director Iossif Vardakis presented his documentary “AKOE/AMFI – The Story of a Revolution,” shedding light on the inception and impact of Greece’s first LGBTQ+ movement. In this interview, Vardakis delves into the significance of this untold story and the challenges of bringing it to the forefront.
Unearthing Untold StoriesVardakis discusses his motivation behind documenting the birth of the first Greek LGBTQ+ movement in 1977, emphasizing the importance of preserving and sharing this pivotal moment in history. With a story never told, the documentary serves as a testament to the resilience and courage of those who fought for equality in the face of adversity.
Navigating Historical ChallengesThe director reflects on the challenges of researching and capturing the history of a movement that existed in a time of limited documentation. Despite the scarcity of records, Vardakis embarked on a meticulous journey to piece together the narrative, ensuring accuracy and authenticity in portraying this transformative period.
Crafting a Multifaceted NarrativeIossif Vardakis shares insights into his storytelling approach, blending archival footage, illustrations, and interviews to weave a cohesive and engaging narrative. By incorporating diverse narrative elements, “AKOE/AMFI – The Story of a Revolution” captures the essence of the movement while honouring the voices of those who lived it.
Audience Reception and Emotional ImpactReflecting on the Lovers Film Festival screening, Vardakis expresses gratitude for the overwhelming emotional reactions from the audience: “It was more than I expected! There were great emotional reactions from the audience.”
A Moving Dedication:Talking about emotional reactions, Iossif Vardakis sheds light on the poignant dedication at the end of the film, honouring both those who participated in the movement and those who were unable to. This heartfelt tribute encapsulates the spirit of resilience and solidarity that defines the LGBTQ+ community.
Iossif Vardakis’ film“AKOE/AMFI—The Story of a Revolution” emerges as a powerful testament to the courage and resilience of Greece’s LGBTQ+ community. Iossif Vardakis‘s dedication to telling this untold history offers a beacon of hope and inspiration, reminding us of the transformative power of solidarity and activism. It is essential to remember and honour those who fought for us, those who first raised their heads, made their voices heard, and allowed everyone’s voices to be heard.
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At the 39th Lovers Film Festival, director David Lambert offered insights into his award-winning film “Turtles” and the profound themes it explores. From the inspiration behind the story to the significance of its title, Lambert delved into the intricacies of crafting a narrative that blends comedy with poignant introspection.
Exploring the Inspiration:Lambert shares the origins of “Turtles,” highlighting the absence of representation of older queer couples in cinema. Motivated to fill this gap, Lambert embarked on a journey to portray the complexities of love, ageing, and existential crises through the lens of Thom and Henri’s relationship.
Balancing Serious Themes with ComedyOne of the striking aspects of “Turtles” is its ability to balance serious themes with tones of comedy. David Lambert reflects on infusing fun into the narrative, acknowledging the delicate dance between humour and heartfelt moments that underpin the dynamics of love, couplehood, and ageing.
Casting the Right DuoCentral to the film’s success were the performances of Thom and Henri, portrayed by the talented actors Dave Johns and Olivier Gourmet. The director discusses the importance of finding the right actors to embody these characters, whose chemistry and depth bring authenticity to their portrayal of love, loss, and resilience.
Embracing Individuality within RelationshipsA central theme of “Turtles” is the protagonists’ introspective journeys as they grapple with rediscovering their individuality within the confines of a long-term relationship. Lambert emphasizes the importance of self-love and personal growth, highlighting the nuanced exploration of identity within the context of partnership: “To love someone, you need to love yourself first.”
Under the “Turtles” ShellThe film’s title, “Turtles,” holds symbolic significance throughout the narrative. David Lambert explores the symbolic layers of the turtles, which serve as symbols of resilience, longevity, and companionship. Through their presence, the film delves into the themes of endurance and adaptation in facing life’s challenges.
“Turtles” is a poignant ode to love, resilience, and the enduring power of human connection. David Lambert’s masterful storytelling captures the essence of ageing, love, and individuality within a richly layered narrative.
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It is a woman driven film, “Persona Non Grata“, the new film by Austrian director Antonin Svoboda, screening at the 37°Bolzano Film Festival in the Special section.
Inspired by the story of skier Nicola Spieb who reported she was a victim of abuse in her field, the film sees Gerti Drassl in the role of Andrea, a former skier who, after the death of her husband, decides to report the abuses she had to endure as a young professional.
With his non judgmental look on his characters, Antonin Svoboda focuses on his protagonist and her interactions, especially with the two other women in her life, her mother and her daughter.
While the latter becomes an ally along her difficult journey facing what she went through years before, her mother claims that “It’s always been like that and they should stop acting like a victim”.
“Persona Non Grata“ is the story of a woman’ second chance to live as, to quote Antonin Svoboda “she doesn’t have to stick with her past anymore, she’s changing this past tense in the present for the future, she’s feeling alive”.
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After premiering at the latest edition of Berlinale, “My stolen planet“, a documentary by Iranian director Farahnaz Sharifi is screening at the 37°Bolzano Film Festival.
In the style of a diary, Farahnaz Sharifi, let her personal archive about her family and her joyful private life inside closed doors interact with 8mm recordings of strangers’ lives to testify the different realities in her oppressed country.
Starting from the title of the film, Farahnaz Sharifi says: “This is a story about two kind of different realities happening in my country, inside it is my planet, outside its theirs”.
“My stolen planet” as the director agrees, is not only a film about women in Iran or about life in a regimented oppressed country but it is about the women all around the world and a universal reminder of how we should never take some rights for granted.
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After the success of the second feature film “Glück/Bliss“, german director Henrika Kull is back with a new feature, Südsee – Salty Water, screening in competition, as an italian premiere at the 37° Bolzano Film Festival Bozen.
If in “Glück“, Kull portrayed the relationship between two women, sex workers, now, in “Salty Water” at the centre of the story there’s again a woman, a young girl in her 20’s, Anne (Liliane Amuat), in a temporary suspension state from reality, during her two intimate days with a stranger, Nuri, while the two wait for the conflict between the Israeli army and Hamas to “pause”.
Nothing really happens during those days and between the two, though everything happens. In a midst of a sexual tension arising but never exploding, Anne and Nuri (Dor Aloni) discuss about very important topics such as belonging to a country, professing one’s religion, defending a country, dreaming, having kids.
Henrika Kull explains how the film for her “was always about creating a tension in a very tensed place and make the audience feel the two should be together”.
Liliane Amuat describes her character and how Kull directed her through that acting full of silences, slightly touching, keeping things afloat, reflecting.
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A new international and inclusive programme of the IDM Film Commission South Tyrol and the Bolzano Film Festival Bozen to support the production of short films has been launched on April 16th In Bolzano.
Its name is MASO and it supports the production of short films, aiming at aspiring talents as well as professionals.
Head of IDM Film Commission Südtirol, Birgit Oberkofler talks about conceiving the program with Artistic Director of the Bolzano Film Festival Bozen, Vincenzo Bugno.
The first edition of MASO is directed by Enrico Vannucci and will pay particular attention to reaching filmmakers from underrepresented social groups and encouraging them to participate. By supporting these groups with a strong artistic voice, the aim is to make the world of film and television more inclusive, colorful, and diverse.
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MASO, the new international and inclusive programme of the IDM Film Commission South Tyrol and the Bolzano Film Festival Bozen to support the production of short films, was launched during the Industry Days of the Bolzano Film Festival Bozen (BFFB).
This professional development program for filmmakers from all over the world, was initiated by IDM Film Commission Südtirol, the Bolzano Film Festival Bozen BFFB, the Cultural Departments of the Autonomous Province of Bozen-Bolzano and other European partners such as the Talents and Short Film Market, the Nordnorsk Filmsenter and FilmCamp Norway.
Enrico Vannucci, who is in charge of programming the short film selection at the Locarno Film Festival, is responsible for the content of MASO #1. “The short film is an art form in its own right. It is real cinema and the sector has evolved considerably in many ways over time. There are many more productions today, but at the same time there are also more festivals and online platforms just for short films,” emphasizes Enrico Vannucci.
The MASO professional development programme is aimed at aspiring talents as well as professionals.
Particular attention will be paid to reaching filmmakers from underrepresented social groups and encouraging them to participate. By supporting these groups with a strong artistic voice, the aim is to make the world of film and television more inclusive, colorful, and diverse.
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The Festival de Cannes, renowned for its glitz, glamour, and celebration of cinematic excellence, is gearing up for its 77th edition with an enticing official selection that promises to captivate audiences worldwide. From May 14th to May 25th, the French Riviera will again become the epicentre of the film world as filmmakers, actors, and cinephiles converge to revel in the magic of the silver screen.
A Star-Studded CompetitionThis year’s official competition at the Festival de Cannes presents a rich tapestry of cinematic delights featuring seasoned filmmakers and emerging talents. Among the standout entries is “Megalopolis” by Francis Ford Coppola, marking his return to Cannes to celebrate the 50th anniversary of his first Palme d’Or win. With a sprawling epic narrative and an ensemble cast led by Adam Driver, the film promises to showcase Coppola’s legendary storytelling prowess.
Jacques Audiard, known for his emotionally resonant dramas, presents “Emilia Perez,” combining music, mystery, and intrigue.
David Cronenberg, the master of body horror, brings “The Shrouds” to Cannes, a chilling thriller starring Vincent Cassel and Diane Kruger. With his signature blend of visceral storytelling and thought-provoking themes, Cronenberg is set to deliver another riveting cinematic experience.
Following the success of “Poor Things,” Yorgos Lanthimos returns to the Festival de Cannes with “Kinds of Kindness,” a stylized three-part story set in the present. Featuring an ensemble cast including Emma Stone, Joe Alwyn, Jesse Plemons, and Willem Dafoe, Lanthimos’ film offers a unique and thought-provoking exploration of human relationships.
These films represent a glimpse into the diverse and captivating selection of entries in this year’s official competition at the Festival de Cannes. With their compelling narratives, stellar performances, and innovative storytelling techniques, they exemplify the festival’s commitment to celebrating cinematic excellence and artistic innovation.
New Voices and PerspectivesAmidst the stalwarts of cinema, the Cannes lineup also spotlights emerging talents making their mark on the international stage.
Among the debut features, Agathe Riedinger‘s “Wild Diamond” emerges as a poignant coming-of-age tale, delving into the complexities of adolescence in a digital era. Payal Kapadia, with her inaugural narrative feature “All We Imagine as Light,” crafts a lyrical exploration of love and longing against the backdrop of India. Meanwhile, Coralie Fargeat takes a daring leap into the horror genre with “The Substance,” injecting a female-powered narrative that challenges traditional conventions.
Ali Abbasi, whose previous film “Holy Spider” garnered acclaim at Cannes, presents “The Apprentice,” a riveting biopic exploring Donald Trump’s early years. This provides a unique lens through which to view one of modern history’s most polarizing figures. Karim Aïnouz transports audiences to Saudi Arabia with “Motel Destino,” a poignant reflection on love and loss set against the vast desert landscape.
Directors like Riedinger, Kapadia, and Abbasi offer nuanced reflections on contemporary society in these films, inviting audiences to engage with themes of identity, empathy, and societal change.
Jeremy Strong and Sebastian Stan in a scene of “The Apprentice” by Ali AbbasiA Daydreaming Red CarpetAnticipation runs high as we eagerly await this year’s Montées des Marches at the Festival de Cannes. This year’s lineup includes iconic figures like Francis Ford Coppola and George Lucas, who bring a sense of cinematic history with Coppola’s “Megalopolis” and Lucas receiving an Honorary Palme d’Or.
Hollywood heavyweights such as George Miller and Paul Schrader add further star power to the festival, with highly anticipated films like Miller’s “Furiosa,” featuring Anya Taylor-Joy and Liam Hemsworth, and Paul Schrader‘s “Oh Canada,” featuring renowned actors like Jacob Elordi, Uma Thurman, and Richard Gere.
The Festival de Cannes will also feature established stars like Nicolas Cage in the Midnight Screening’s “The Surfer” by Lorcan Finnegan, Gary Oldman in Paolo Sorrentino‘s “Parthenope,” Catherine Deneuve and Fabrice Luchini in “Marcello Mio” by Christophe Honoré.
In addition to Sebastian Stan, who takes on the challenging role of portraying a young Donald Trump in the already mentioned Ali Abbasi‘s “The Apprentice,” stars like Margaret Qualley and Demi Moore, protagonists of Coralie Fargeat‘s “The Substance,” will probably walk on the red carpet.
The festival also spotlights actors-turned-directors, such as Laetitia Dosch and Noémie Merlant, whose films bring fresh perspectives and creative storytelling to the screen.
The Official Selection In Competition + Opening Film: Le Deuxième Acte by Quentin Dupieux (Out of Competition) + The Apprentice by Ali Abbasi + Motel Destino by Karim Aïnouz + Bird by Andrea Arnold + Emilia Perez by Jacques Audiard + Anora by Sean Baker + Megalopolis by Francis Ford Coppola + The Shrouds by David Cronenberg + The Substance by Coralie Fargeat + Grand Tour by Miguel Gomes + Marcello Mio by Christophe Honoré + Feng Liu Yi Dai by Jia Zhang-Ke (Caught by the Tides) + All We Imagine as Light by Payal Kapadia + Kinds of Kindness by Yórgos Lánthimos + L’Amour Ouf by Gilles Lellouche + Diamant Brut by Agathe Riedinger (Wild Diamond) + Oh Canada by Paul Schrader + Limonov – The Ballad by Kirill Serebrennikov + Parthenope by Paolo Sorrentino + Pigen Med Nålen by Magnus Von Horn (The Girl with the Needle)Limonov – The Ballad by Kirill Serebrennikov * Un Certain Regard + Norah by Tawfik Alzaidi + The Shameless by Konstantin Bojanov + Le Royaume by Julien Colonna + Vingt Dieux! by Louise Courvoisier + Le Procès du Chien by Laetitia Dosch (Who Let the Dog Bite?) + Gou Zhen by Guan Hu (Black Dog) + The Village Next to Paradise by Mo Harawe + September Says by Ariane Labed + L’Histoire de Souleymane by Boris Lojkine + The Damned by Roberto Minervini + On Becoming a Guinea Fowl by Rungano Nyoni + Boku No Ohisama by Hiroshi Okuyama (My Sunshine) + Santosh by Sandhya Suri + Viet and Nam by Truong Minh Quý + Armand by Halfdan Ullmann Tøndel * Out of Competition + She’s Got No Name by Chan Peter Ho-Sun + Horizon, An American Saga by Kevin Costner + Rumours by Evan Johnson, Galen Johnson, Guy Maddin + Furiosa: A Mad Max Saga by George Miller * Midnight Screenings + Twilight of the Warrior Walled In by Soi Cheang + The Surfer by Lorcan Finnegan + Les Femmes au Balcon by Noémie Merlant (The Balconettes) + I, the Executioner by Ryoo Seung WanNicolas Cage in a scene of The Surfer by Lorcan Finnegan * Cannes Premiere + Everybody Loves Touda by Nabil Ayouch + C’est Pas Moi by Leos Carax + En Fanfare by Emmanuel Courcol (The Matching Bang) + Miséricorde by Alain Guiraudie + Le Roman de Jim by Arnaud Larrieu and Jean-Marie Larrieu + Rendez-vous avec Pol Pot by Rithy Panh * Special Screenings + Le Fil by Daniel Auteuil + Ernest Cole, Lost and Found by Raoul Peck + The Invasion by Sergei Loznitsa + Apprendre by Claire Simon + La Belle de Gaza* by Yolande Zauberman The post Festival de Cannes: The Official Selection of the 77th Edition appeared first on Fred Film Radio.
George Lucas, the visionary director, screenwriter, and producer, is set to receive the Honorary Palme d’Or at the 77th Festival de Cannes, a tribute to his unparalleled contributions to the world of cinema. His name is synonymous with iconic franchises like Star Wars and Indiana Jones, and his influence extends far beyond the silver screen.
George Lucas © JAKS Productions. All rights reservedGeorge Lucas: A Hollywood IconBorn in 1944, George Lucas emerged as a prominent figure in the New Hollywood movement of the late 1960s and 1970s. With a keen eye for storytelling and a passion for pushing the boundaries of visual effects, Lucas quickly established himself as one of the most innovative filmmakers of his generation.
A Fondness for CannesLucas’s connection with the Festival de Cannes runs deep. His debut film, “THX-1138,” was selected for the Directors’ Fortnight program in 1971, marking the beginning of his enduring relationship with the prestigious festival. “Since then, I have returned to the festival on many occasions in a variety of capacities as a writer, director and producer. I am truly honoured by this special recognition, which means a great deal to me,” stated Lucas.
Pioneering FilmmakingFrom the outset of his career, Lucas demonstrated a willingness to experiment with genre and form. His directorial debut, “THX 1138,” was a dystopian science fiction film exploring themes of surveillance and conformity—a harbinger of the thought-provoking narratives defining much of his work.
His second film, “American Graffiti,” was a remarkable success, both critically and commercially, and it helped George Lucas establish himself as a major player in Hollywood. The film was a touching tribute to American youth and also served as a launch pad for Harrison Ford’s career.
The Star Wars PhenomenonWith the release of “Star Wars” in 1977, Lucas achieved global acclaim and forever altered the landscape of cinema. The space opera saga, set in a galaxy far, far away, captured the imaginations of audiences around the world with its epic storytelling, groundbreaking visual effects, and memorable characters.
Star Wars (1977) poster“Star Wars” transcended the confines of the movie theatre to become a cultural phenomenon, inspiring generations of fans and spawning a vast universe of spin-offs, merchandise, and media. Lucas’s meticulous attention to world-building and his ability to tap into universal themes of heroism, redemption, and the battle between good and evil have cemented the saga’s place in cinematic history.
A Legacy of InnovationBeyond his directorial achievements, Lucas’s impact on the film industry is immeasurable. Through his companies, including Lucasfilm and Industrial Light & Magic (ILM), he pioneered visual effects and sound design advancements, revolutionizing how films are made and experienced.
A Fitting Honorary Palme d’OrThe Honorary Palme d’Or is a fitting tribute to George Lucas’s extraordinary career and lasting legacy. His ability to marry cutting-edge technology with timeless storytelling has left an indelible mark on cinema, inspiring countless filmmakers and shaping the way we view movies.
As the 77th Festival de Cannes prepares to honour George Lucas, it celebrates not only his cinematic achievements but also his enduring impact on popular culture. From a galaxy far, far away to the red carpet of Cannes, Lucas’s influence continues to be felt, reminding us of the power of imagination and the magic of the movies.
The Honorary Palme d’Or will be presented to him on stage at the Grand Théâtre Lumière during the Closing Ceremony on Saturday, May 25, 2024.
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Kevin Costner, the esteemed actor and director renowned for his contributions to American cinema, is set to grace the prestigious 77th Festival de Cannes with the unveiling of the first part of “Horizon, An American Saga.” This ambitious multi-episode project, positioned Out of Competition, promises to captivate audiences with its grandeur and depth as it explores the rich tapestry of the American West.
A Homecoming of SortsFor Costner, Cannes represents a symbolic return to the global cinema stage. Expressing his gratitude for including “Horizon, An American Saga” in the Festival’s selection, Costner reflects on his last appearance on the Croisette nearly two decades ago: “It’s been 20 years since I’ve had the pleasure of being on it. I’ve been waiting for the right time to return, and I’m proud to say that this time has come.”
He views Cannes as the perfect venue to showcase the culmination of his 35-year journey in filmmaking: “I can’t think of a better place than Cannes to reveal to the world the result of such a wonderful adventure. The French have always supported films and believed deeply in filmmaking. Just as I believe deeply in my film…”
Crafting a Portrait of AmericaThroughout his illustrious career, Kevin Costner has exhibited a profound fascination with American history and landscapes, seeking to paint a vivid portrait of the nation’s essence. Drawing inspiration from his iconic works such as “Dances with Wolves,” Costner sees “Horizon, An American Saga” as an opportunity to delve deeper into the complexities of American identity, its origins, and its enduring myths. Through the lens of the Western genre, he explores themes of democracy and environmental stewardship, echoing his longstanding commitment to social and political causes.
An Epic Endeavor“Horizon, An American Saga” emerges as a monumental undertaking, comprising four episodes that traverse the vast expanse of the American West. With an ensemble cast by Sienna Miller, Sam Worthington, and Jena Malone, the series promises to offer a sweeping narrative that chronicles the trials and triumphs of the nation’s frontier pioneers. Against the backdrop of war and violence, Costner endeavours to illuminate the human cost of America’s relentless pursuit of progress and expansion.
Reflecting on a Storied CareerFrom his directorial debut with the critically acclaimed “Dances with Wolves,” which garnered seven Oscars, including Best Picture, to his memorable performances in films like “The Untouchables,” “JFK,” and “A Perfect World,” Kevin Costner has left an indelible mark on the cinematic landscape. Continuously pushing boundaries and challenging conventions, he has showcased remarkable versatility and depth as an actor and filmmaker, earning accolades and admiration from audiences and peers alike.
Kevin Costner in Dances With WolvesScreening Details and AnticipationThe “Horizon, An American Saga” screening is scheduled for Sunday, May 19, 2024, at the Festival de Cannes. As anticipation mounts for this highly anticipated event, audiences eagerly await the opportunity to immerse themselves in Costner’s cinematic vision and experience another chapter in the enduring legacy of one of Hollywood’s most beloved icons.
The Festival is gradually revealing its program, and we already know that George Miller‘s “Furiosa” and Quentin Dupieux‘s new film will be featured. And now, it has been confirmed that Kevin Costner‘s latest work will also be part of the prestigious Festival. The complete program is set to be disclosed on April 11, to wait for further updates from the Croisette.
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Quentin Dupieux‘s latest film, “Le Deuxième Acte” (The Second Act), is set to open the upcoming Festival de Cannes. Presented Out of Competition as a world premiere on May 14, this four-part comedy promises to delight audiences with its daring and unpredictable storyline.
A Maverick FilmmakerQuentin Dupieux, known for his unconventional approach to filmmaking, has carved a unique niche in the industry. With 13 feature films in 17 years, Dupieux has established himself as a boundary-pushing artist, embracing freedom in tone, form, and subject matter.
Quentin Dupiex at the FRED Film Radio Radiocall in VeniceEmbracing the Absurd“The Second Act” is the latest addition to Dupieux’s absurd and surreal narrative repertoire. From a road movie featuring plastic surgery (Steak) to a story about a killer tyre (Rubber) or a giant fly trained by thugs (Mandibles), Dupieux’s films defy convention and challenge traditional genre boundaries.
A Star-Studded CastThis time, Dupieux brings together a stellar cast, including Léa Seydoux, Vincent Lindon, and Louis Garrel, alongside returning collaborator Raphaël Quenard (Mandibles, Smoking Causes Coughing, and Yannick). The red carpet at Cannes promises to be a star-studded affair, with some of the brightest stars of French cinema gracing the event.
The Opening CeremonyThe 77th Festival de Cannes will kick off with a grand opening ceremony broadcast live on France Télévisions and Brut. Camille Cottin will serve as Master of Ceremony, setting the stage for an unforgettable evening celebrating cinema.
Screening Across FranceIn partnership with the Fédération Nationale des Cinémas Français (FNCF), numerous cinemas across France will screen the opening ceremony and “The Second Act,” ensuring that audiences nationwide can be part of the excitement.
Synopsis of “The Second Act”In “The Second Act,” Florence introduces her love interest, David, to her father, Guillaume. However, David has other plans and attempts to match Florence with his friend, Willy. The four characters are in a surreal situation as they meet in a remote restaurant.
As anticipation builds for the Festival de Cannes, “The Second Act” promises to be a highlight of this year’s event, showcasing Dupieux’s unique vision and storytelling prowess.
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During Cinema Made in Italy in London, Fred Film Radio spoke with Ginevra Elkann about her bold second feature, “I Told You So.”
The filmmaker shared that the starting point for her story was a heatwave in Rome and the impact it had on her and the people around her, inducing anxiety and sending people into a frenzy. From that idea, the scene was set for her movie, which she then populated with a series of characters with interweaving narratives.
We heard about how she assembled her all-star cast, including Valeria Golino as Pupa, an ex-porn star trying to relive her Golden Days, Valeria Bruni Tedeschi as her obsessed ex-best friend, Riccardo Scarmarcio and Alba Rorwacher as a divorced couple battling over the custody of their son, and Danny Huston as priest with a former heroin addiction, to name but a few.
Key aspects of making the film were achieving the claustrophobic look and feel of the sweltering heat and also the more out-there moments, such as the hyper-realistic sex scene that opens the feature.
We also discussed the thread of addiction through all the characters, whether food, alcohol, sex or drugs, exploring how we all have our ways of trying to escape ourselves and our past traumas, as well as the complex reactions women can have to becoming a mother, dysfunctional relationships and societal judgement.
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During the Cinema Made in Italy festival in London, Fred Film Radio spoke to director Laura Luchetti about her 1938 Turin-set coming-of-age story, adapted from the novel by Cesare Pavese.
She shared how, although she was intimidated by the prospect of attempting to put a literary masterpiece on the screen, she felt it was a risk worth taking, and the process of adaptation was dictated by those parts of the novel she thought were most compelling, namely the relationship between the two women in the story.
Laura Luchetti told us how she landed on her cast, particularly Yile Yara Vianello as Ginia, a timid but curious young woman experiencing her sexual awakening, and Deva Cassel as Amelia, a more worldly model, who opens Ginia up to a bohemian, artistic circle.
She further gave insight into creating the exacting aesthetic for the film, in which everything from the backdrops to the costumes ponders on the intoxicating beauty that Ginia is desperate to explore.
We also discussed how the narrative and its themes are very contemporary for a period piece, in terms of exploring female sexuality, agency over one’s body and the desire to be seen, and the resonance it can have with young audiences today.
“The Beautiful Summer” screened at Cinema Made In Italy, organised by Cinecittà.
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During the Cinema Made in Italy festival in London, Fred Film Radio spoke with renowned Italian actress Paola Cortellesi about the making of her directorial debut, “There’s Still Tomorrow“.
She shared how, alongside her acting career, she has been writing scripts for some time but it was this story she felt most compelled to make first. Set against the backdrop of World War II and women gaining the right to vote in Rome, the movie, shot in black and white, tackles issues of domestic violence, patriarchal oppression and toxic masculinity, yet explores these themes through a surprisingly lightness of tone more akin to a dramedy than hard-hitting drama.
Paola Cortellesi gave some insight into the unique way her film plays out and her feeling that this has helped make urgent and still-prevalent problems in contemporary society more accessible to audiences. We also discussed how the film has struck a chord with cinemagoers in Italy and beyond, particularly with women, with it beating the likes of “Barbie” and “Oppenheimer” at the box office.
Finally, Paola Cortellesi shared that she was keen to make more movies but would like to skip the “difficult second” and skip straight to her third after the resounding success of her first.
“There’s Still Tomorrow” screened at Cinema Made In Italy, organised by Cinecittà.
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Since its inception in 1969, the Directors’ Fortnight has been a bastion of cinematic innovation within the esteemed Festival de Cannes. Rooted in a genuine commitment to inclusivity and artistic freedom, the Directors’ Fortnight has announced a significant milestone in its history: introducing its inaugural audience award, marking a profound evolution in the Cannes landscape.
Embodying the ethos of openness and accessibility, the Directors’ Fortnight has long welcomed industry insiders and global cinephiles to experience its boundary-pushing selection of films. This year, the Fortnight reaffirms its dedication to audience engagement by inaugurating the People’s Choice award, a distinction that transcends conventional notions of competition.
Distinct from traditional accolades, the People’s Choice award celebrates the singular vision and bold creativity of filmmakers who challenge norms and conventions. By emphasizing individuality and artistic expression, this accolade aims to amplify the voices of cinematic trailblazers whose works resonate deeply with audiences.
Central to this momentous occasion is a poignant tribute to the late Chantal Akerman, a luminary whose indelible impact on cinema continues reverberating throughout the industry. In recognition of Akerman’s groundbreaking contributions, the Fondation Chantal Akerman has graciously pledged its support to the People’s Choice award, endowing the winning filmmaker with a €7,500 prize as a testament to their exceptional talent and dedication.
As the curtain rises on this transformative chapter in Cannes history, the Directors’ Fortnight stands as a beacon of artistic innovation and reverence for cinematic heritage. With the introduction of the People’s Choice award and a heartfelt homage to Chantal Akerman, the Fortnight reaffirms its unwavering commitment to fostering a dynamic dialogue between filmmakers and audiences.
Directors’ Fortnight People’s Choice AwardThe post Directors’ Fortnight Revolution: Audience Award & Tribute to Chantal Akerman appeared first on Fred Film Radio.
27 Times Cinema at Venezia 79.
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Ana Marija Hauko – 27 Times Cinema #Giornate2022 was first posted on September 12, 2022 at 8:00 am.
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27 Times Cinema at Venezia 78.
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Lev Slivnik – 27 Times Cinema #Giornate2021 was first posted on September 11, 2021 at 7:44 pm.
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27 Times Cinema at Venezia 77.
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Feguš Nejc – 27 Times Cinema #Giornate2020 was first posted on September 12, 2020 at 6:11 pm.
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Dva mlada igralca na mikrofonih Fred Radia govorita o izkušnji na snemanju.
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Matjias Valant, Tine Ugrin – Don’t Forget To Breathe #RomeFF14 was first posted on November 12, 2019 at 4:21 pm.
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28 Times Cinema at Venezia 76.
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Gregor Rihtaršič – 28 Times Cinema #Venezia76 was first posted on September 24, 2019 at 4:56 pm.
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28 Times Cinema @ Venezia 75
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Luka Benedičič – 28 Times Cinema #Venezia75 was first posted on October 1, 2018 at 1:36 pm.
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28 Times Cinema @ Venezia 74
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Karla Pelko – 28 Times Cinema #Venezia74 was first posted on September 21, 2017 at 5:13 pm.
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28 Times Cinema @ Venezia 73
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Tomi Petek – 28 Times Cinema #Venezia73 was first posted on September 21, 2016 at 3:24 pm.
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2016 EFP Producers on the Move
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Bostjan Ikovic – Arsmedia #Cannes2016 was first posted on May 8, 2016 at 11:28 am.
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2015 EFA Young Audience Award
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Ambros Pivk, 28 times jury member. Reporter: Nicolò Comotti.
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Ambros Pivk – 28 Times Cinema #VeniceDays was first posted on November 3, 2014 at 11:34 am.
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Med gangsterji in intimo: Južnokorejski film na 15. ediciji FEFF v Udinah. Reporter: Bor Pleteršek.
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Review – New World, The Berlin File, National Security, Juvenile Offender, Jury @fareastfilm #FEFF15 was first posted on March 20, 2014 at 8:51 am.
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Zmagovalna trojica letošnjega festivala FAR EAST FILM v Udinah. Reporter: Bor Pleteršek.
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Review – Ip Man, The Final Fight, Countdown, How To Use Guys With Secret Tips @fareastfilm #FEFF15 was first posted on March 20, 2014 at 8:49 am.
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A Long and Happy Life (Khlebnikov), State 194 (Setton). Festival section: Competition / Panorama dokumente. Kratek komentar filmov v tekmovalnem programu in sekciji “Panorama dokumente” 63. Berlinala Reporter: Bor... More
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A Long and Happy Life & State 194 #berlinale was first posted on April 9, 2013 at 9:49 am.
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Kratek komentar filmov I USED TO BE DARKER in WHEN I SAW YOU. Reporter: Bor Pleteršek.
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Od Palestine do Baltimora #berlinale was first posted on April 9, 2013 at 9:47 am.
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I Nostri Reporter Chiara Nicoletti, Eddie Bertozzi ed Angelo Acerbi ci annunciano i vincitori del Courmayeur Noir In Fest 2012.
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To Courma with Love – Giorno 6 was first posted on December 16, 2012 at 9:30 am.
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Donata Pesenti Campagnoni, Conservatrice del Museo Nazionale del Cinema parla ai nostri microfoni.
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Donata Pesenti svela i segreti della Mole a Fred.FM – Parte 3 was first posted on December 2, 2012 at 10:38 am.
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Bijan Anquetil, Director, Night’s Drifters
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Samuel Collardey, Regista, Comme un Lion. Freddie: Nicolò Comotti.
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Piccolo leone d'Arica. Tra sogni di calcio e dure realtà was first posted on November 12, 2012 at 6:30 pm.
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Enzo Avitabile, Enzo Avitabile Music Life was first posted on August 30, 2012 at 6:30 pm.
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Sydney French Film Festival – Cristiana Palmieri – Sydney Correspondent – Interview ITA was first posted on March 15, 2012 at 7:34 am.
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Courmayeur Noir in Festival – Martha Marcy May Marlene – Sean Durkin Review ITA was first posted on December 5, 2011 at 5:59 pm.
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Courmayeur Noir in Festival – We Need to Talk About Kevin – Lynne Ramsay Review – ITA was first posted on December 5, 2011 at 5:59 pm.
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Rome Med FF – Ginella Vocca – Festival Director – Interview ITA was first posted on November 30, 2011 at 12:03 pm.
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BOOKS – Conference Directory of World Cinema Book Launch – ENG was first posted on November 28, 2011 at 3:07 pm.
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BOOKS – Interview Directory of World Cinema Book Launch – ENG was first posted on November 28, 2011 at 3:07 pm.
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