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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!
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“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.
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“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.
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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.”
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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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“Real cannot be called a film. And it cannot be called a documentary. It is a document of this war recorded by accident during one battle.”
Ukrainian director and activist Oleh Sentsov tells us more about “Real“, a 90-minute document involuntarily filmed in the trenches, not as a filmmaker but as a soldier, which world-premiered as a Special Screening at the 58th Karlovy Vary International Film Festival.
This “accidental” film came with a preliminary message recorded by the filmmaker, also known for spending five years in jail as a political prisoner in Russia.
“My name is Oleh Sentsov. I am a film director and a soldier from Ukraine. I am currently at home on a short leave, after another rotation in Donbass. What you are about to see, the Real movie, is a documentary, small film. We just call it material, material about the war that was shot about a year ago during a major Ukrainian counteroffensive – unfortunately, an unsuccessful one. The incident occurred during one of the operations, when the infantry of our company was landed at the Real position and was encircled there. I was amongst the commanders who participated in the operation. The Bradley in which I was transported with the second wave of troops was hit. We were forced to take a different position, [in a trench further back] from the Real position. They were connected only by radio. Whilst checking whether my GoPro was still in place, I accidentally turned it on, and recorded a one hour and a half video which mainly shows radio conversations with the guys who are at the positions. This is a movie which has no editing, with no beginning and no end. It may have no meaning, because it does look like a war. The war has very little meaning either. Because war is very complicated, sometimes incomprehensible. Sometimes it is meaningless and always very tragic.“The post “Real”, an interview with director and soldier Oleh Sentsov appeared first on Fred Film Radio.
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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ShorTS International Film FestivalThe 25th edition of the ShorTS International Film Festival is ready to conquer Trieste from 28 June to 6 July 2024. This event, directed by Maurizio di Rienzo, celebrates short cinema and promises a rich and varied program that will take place at the Giardino Pubblico Muzio de Tommasini, the Miela Theater and the Sala Xenia.
A Rich and Diversified ProgramThe ShorTS International Film Festival will last nine days and present 117 works divided into seven competition sections. The historic Maremetraggio section has 45 short films from 43 countries. Other sections include ShorTS Express, Eco-ShorTS, Italia in ShorTS, Shorter Kids’n’Teens, ShorTS Immersive, and three short films out of competition. Also this year, the pre-festival ShorTS Development & Pitching Training trained screenwriters and directors of eight international projects, the winners of which will be in Trieste.
Awards and Prominent GuestsThe ShorTS International Film Festival will pay homage to notable figures of Italian cinema. On 28 June, Simone Massi will receive the Cinema dell’Anima Award, and his first feature film, Invelle, will be screened.
The Cinema del Presente Award will go to the brothers Damiano and Fabio D’Innocenzo. The two Roman directors will share their cinematic experience with the public on 29 June.
Carlotta Gamba will receive the Prospettiva Award, intended for young promises of Italian cinema, and will be the protagonist of a masterclass on 30 June. Isabella Ragonese and Michele Riondino will be honoured with the Interprete del Presente Award, meeting the public on July 3rd and 5th, respectively.
Laura Samani will be the protagonist of the Campolungo section.
Technology and InnovationThe ShorTS Immersive section will allow you to explore new forms of narration with seven works visible through specific viewers. The renewed collaboration with MYmovies ONE will allow 65 short films previously unreleased in Italy to be viewed online from 29 June to 7 July.
Focus and CollaborationsThe ShorTS International Film Festival‘s annual focus will be Turkish short cinema, with five recent short films screening. Furthermore, the ShorTS Comics Marathon will involve 70 cinephile designers in a relay of cinema-related panels.
The ShorTS International Film Festival 2024 promises to be an unmissable edition full of cinema, meetings and innovations. Don’t miss the opportunity to participate in this extraordinary event in Trieste, where short films will be the absolute protagonist.
FRED Film Radio is a proud media partner of the ShorTS International Film Festival 2024.For further details and access methods, visit the official website maremetraggio.com.
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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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A BFI Southbank retrospective on Danish silent film star Asta Nielsen.
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Pamela Hutchinson – In the Eyes of a Silent Star: The Films of Asta Nielsen was first posted on January 27, 2022 at 5:53 pm.
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Enabling access to the media for all. Rocío Bernabé Caro tells us more about the new challenges but also opportunities of the media accessibility landscape.
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Accessible Cinema – Rocío Bernabé Caro was first posted on November 12, 2021 at 3:41 pm.
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The second part of an intensive workshop hosted by Francesca Raffi, fostered by SubTi Ltd.
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Workshop on Audiovisual Translation – second round #Venezia78 was first posted on September 10, 2021 at 8:50 pm.
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The first part of an intensive workshop hosted by prof. Annalisa Sandrelli, fostered by SubTi Ltd.
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Workshop on Audiovisual Translation – first round #Venezia78 was first posted on September 3, 2021 at 8:23 pm.
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The Pordenone Silent Film Festival returns as an in-person event on October 2-9.
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Jay Weissberg – Giornate del Cinema Muto #GCM40 was first posted on August 12, 2021 at 2:07 pm.
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A new exhibition on disaster movies at the German Film Museum.
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Stefanie Plappert – Catastrophe. What Comes After the End? was first posted on July 27, 2021 at 9:13 pm.
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LTA - Final project conference (9 July 2021 – Online).
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Rocío Bernabé Caro – LTA project – dissemination final conference was first posted on June 20, 2021 at 5:36 pm.
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A conversation about the father of African cinema.
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Samba Gadjigo, Jason Silverman – Sembene! was first posted on May 28, 2021 at 5:18 pm.
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FIAF's Biennial Audio-Visual Archival Summer School.
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David Walsh – FIAF was first posted on May 28, 2021 at 5:02 pm.
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Past, present, and future of media accessibility: from European projects to Brazilian women in audio description.
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Accessible Cinema – Women in audio description was first posted on May 26, 2021 at 12:17 pm.
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Let’s discover with us the artists selected for Berlinale Talents 2021!
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Kantarama Gahigiri – Berlinale Talents 2021 was first posted on March 8, 2021 at 12:17 am.
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Let’s discover with us the artists selected for Berlinale Talents 2021!
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Tomás Barreiro – Berlinale Talents 2021 was first posted on March 8, 2021 at 12:08 am.
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Let’s discover with us the artists selected for Berlinale Talents 2021!
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J.J. Neepin – Berlinale Talents 2021 was first posted on March 7, 2021 at 11:59 pm.
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The upcoming virtual edition of Berlinale Talents is not afraid to DREAM and HOPE.
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Florian Weghorn – Berlinale Talents 2021 was first posted on February 27, 2021 at 7:48 pm.
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ARSAD 2021 puts the focus on audio description beyond its traditional boundaries. Ben Shirley, the keynote speaker of ARSAD 2021, tells us more about personalised audio description and immersive media.
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Ben Shirley – ARSAD 2021 was first posted on February 15, 2021 at 12:13 pm.
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ARSAD 2021 puts the focus on audio description beyond its traditional boundaries. Anna Matamala tells us more about the ARSAD conference and the RAD project.
The post Anna Matamala – ARSAD 2021 + RAD PROJECT appeared first on Fred Education Channel » FRED Education Podcast.
Anna Matamala – ARSAD 2021 + RAD PROJECT was first posted on January 27, 2021 at 2:35 pm.
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The 9th International Conference Media for All is approaching. Pilar Orero tells us more about one of the most important international conferences on media accessibility.
The post Pilar Orero – Media for All 9 appeared first on Fred Education Channel » FRED Education Podcast.
Pilar Orero – Media for All 9 was first posted on January 17, 2021 at 2:45 pm.
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Languages & the Media 2020 Virtual Event - Media Accessibility and Inclusion in Covid Times.
The post Accessible Cinema – Languages & The Media Virtual Event 2020 appeared first on Fred Education Channel » FRED Education Podcast.
Accessible Cinema – Languages & The Media Virtual Event 2020 was first posted on December 31, 2020 at 12:19 pm.
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The restoration of long-lost landmark Greek film, The Apaches of Athens (1930).
The post Maria Komninos – The Apaches of Athens #PordenoneSilent appeared first on Fred Education Channel » FRED Education Podcast.
Maria Komninos – The Apaches of Athens #PordenoneSilent was first posted on November 24, 2020 at 4:09 pm.
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One of the most important independent film festivals in the world.
The post David Martinez – Raindance Film Festival appeared first on Fred Education Channel » FRED Education Podcast.
David Martinez – Raindance Film Festival was first posted on October 14, 2020 at 4:58 pm.
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Silent film and the importance of preserving film heritage.
The post Enrique Ceballos – Mexico International Silent Film Festival appeared first on Fred Education Channel » FRED Education Podcast.
Enrique Ceballos – Mexico International Silent Film Festival was first posted on October 7, 2020 at 5:07 pm.
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European Film Factory: a new EU-supported film literacy online platform.
The post Emilie Boucheteil – Institut Français appeared first on Fred Education Channel » FRED Education Podcast.
Emilie Boucheteil – Institut Français was first posted on October 3, 2020 at 11:11 am.
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An intensive workshop hosted by prof. Elena Di Giovanni, fostered by SubTi Ltd.
The post Workshop on Cinema Accessibility #Venezia77 appeared first on Fred Education Channel » FRED Education Podcast.
Workshop on Cinema Accessibility #Venezia77 was first posted on September 13, 2020 at 1:34 pm.
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Bradford's Science and Media Museum's exhibition on the Father of British Film Industry's run has been extended.
The post Toni Booth, Alice Parsons – Robert Paul: The Forgotten Showman appeared first on Fred Education Channel » FRED Education Podcast.
Toni Booth, Alice Parsons – Robert Paul: The Forgotten Showman was first posted on August 21, 2020 at 10:58 am.
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The new exhibition of the German Film Museum in Frankfurt.
The post Nils Daniel Peiler – The Sound of Disney appeared first on Fred Education Channel » FRED Education Podcast.
Nils Daniel Peiler – The Sound of Disney was first posted on August 21, 2020 at 10:47 am.
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The art of scoring silent films.
The post Alan Kryszak – Dr. Jekyll and Mr. Hyde appeared first on Fred Education Channel » FRED Education Podcast.
Alan Kryszak – Dr. Jekyll and Mr. Hyde was first posted on August 21, 2020 at 10:21 am.
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Ohio's Cleveland Cinematheque celebrates its 34th anniversary.
The post John Ewing – Cleveland Cinematheque appeared first on Fred Education Channel » FRED Education Podcast.
John Ewing – Cleveland Cinematheque was first posted on August 21, 2020 at 10:06 am.
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What is the role of media accessibility in Covid times?
The post Accessible Cinema – 7th August 2020 appeared first on Fred Education Channel » FRED Education Podcast.
Accessible Cinema – 7th August 2020 was first posted on August 7, 2020 at 9:26 am.
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A course on experimental and interactive filmmaking presented by Cineteca di Milano with Red Shoes UK.
The post Ludovica Fales – Open Visions appeared first on Fred Education Channel » FRED Education Podcast.
Ludovica Fales – Open Visions was first posted on July 14, 2020 at 10:58 am.
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A program of films and online events celebrating Black British cinema on various BFI channels..
The post Anthony Andrews – We Are Parable appeared first on Fred Education Channel » FRED Education Podcast.
Anthony Andrews – We Are Parable was first posted on July 14, 2020 at 10:45 am.
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What is the role of media accessibility in Covid times?
The post Accessible Cinema – 12th July 2020 appeared first on Fred Education Channel » FRED Education Podcast.
Accessible Cinema – 12th July 2020 was first posted on July 13, 2020 at 6:08 pm.
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Jean-Louis Rodrigue and Kristof Konrad on their Berlinale Talents workshop.
The post Jean-Louis Rodrigue, Kristof Konrad – Berlinale Talents 2020 appeared first on Fred Education Channel » FRED Education Podcast.
Jean-Louis Rodrigue, Kristof Konrad – Berlinale Talents 2020 was first posted on March 4, 2020 at 10:41 pm.
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From being a Berlinale Talents participant to becoming the Talents Footprints – Mastercard Enablement Programme juror.
The post Dominga Ortuzar – Berlinale Talents 2020 appeared first on Fred Education Channel » FRED Education Podcast.
Dominga Ortuzar – Berlinale Talents 2020 was first posted on March 4, 2020 at 11:17 am.
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The Berlinale Talents is becoming an adult and learning that "a collective of many is unstoppable".
The post Akinola Davies Jr – Berlinale Talents 2020 appeared first on Fred Education Channel » FRED Education Podcast.
Akinola Davies Jr – Berlinale Talents 2020 was first posted on February 22, 2020 at 9:37 am.
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The Berlinale Talents is becoming an adult and learning that "a collective of many is unstoppable".
The post Florian Weghorn – Berlinale Talents 2020 appeared first on Fred Education Channel » FRED Education Podcast.
Florian Weghorn – Berlinale Talents 2020 was first posted on February 21, 2020 at 1:33 pm.
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The director, editor and cinematographer introduces himself for FRED.
The post Rouzbeh Rashidi – Berlinale Talents 2020 appeared first on Fred Education Channel » FRED Education Podcast.
Rouzbeh Rashidi – Berlinale Talents 2020 was first posted on February 21, 2020 at 10:39 am.
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Al via a Prato, LA STOFFA DEI SOGNI , Master in costume design per il cinema, la tv e lo spettacolo.
The post Francesca Conti – Manifatture Digitali Cinema appeared first on Fred Education Channel » FRED Education Podcast.
Francesca Conti – Manifatture Digitali Cinema was first posted on December 20, 2019 at 1:29 am.
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International conferences and events on media accessibility.
The post Accessible Cinema – 5th Episode appeared first on Fred Education Channel » FRED Education Podcast.
Accessible Cinema – 5th Episode was first posted on September 17, 2019 at 9:17 pm.
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An intensive workshop hosted by prof. Elena Di Giovanni.
The post Workshop on Cinema Accessibility #Venezia76 appeared first on Fred Education Channel » FRED Education Podcast.
Workshop on Cinema Accessibility #Venezia76 was first posted on September 10, 2019 at 1:33 pm.
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An intensive workshop hosted by prof. Elena Di Giovanni.
The post Workshop on Translating Cinema #Venezia76 appeared first on Fred Education Channel » FRED Education Podcast.
Workshop on Translating Cinema #Venezia76 was first posted on September 10, 2019 at 1:24 pm.
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A homage to one of the most revered filmmakers of all time - from his own son.
The post Andrey A. Tarkovsky – Andrey Tarkovsky. A Cinema Prayer #Venezia76 appeared first on Fred Education Channel » FRED Education Podcast.
Andrey A. Tarkovsky – Andrey Tarkovsky. A Cinema Prayer #Venezia76 was first posted on September 4, 2019 at 6:16 pm.
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The restored and rediscovered films at this year's Venice Film Festival.
The post Stefano Francia di Celle – Venice Classics #Venezia76 appeared first on Fred Education Channel » FRED Education Podcast.
Stefano Francia di Celle – Venice Classics #Venezia76 was first posted on August 29, 2019 at 1:08 pm.
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A short history of China's fascination with Romanian cinema.
The post Wang Yao #TIFF18 appeared first on Fred Education Channel » FRED Education Podcast.
Wang Yao #TIFF18 was first posted on June 9, 2019 at 8:28 pm.
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Getting everyone talking, thinking and learning about inclusion and people with different disabilities.
The post Accessible Cinema – Global Accessibility Awareness Day appeared first on Fred Education Channel » FRED Education Podcast.
Accessible Cinema – Global Accessibility Awareness Day was first posted on May 15, 2019 at 8:21 pm.
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"I would like to think that film, as an art form, [...] would fly above any political issues or changes with what happens in Europe and the UK. I think that film will always play its part in bringing people together."
The post David Brook #YAA2019 appeared first on Fred Education Channel » FRED Education Podcast.
David Brook #YAA2019 was first posted on May 6, 2019 at 6:46 pm.
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"We were delighted, a few years ago, when the Young Audience Award started, because it fits in with [the BFI's] wish to support European cinema, and to support young audiences to watch as diverse a range of film as adults do in this country - which they usually, sadly, do not."
The post Corinna Downing #YAA2019 appeared first on Fred Education Channel » FRED Education Podcast.
Corinna Downing #YAA2019 was first posted on May 6, 2019 at 6:38 pm.
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The LTA Project from the experts' point of view.
The post Accessible Cinema – 3rd Episode appeared first on Fred Education Channel » FRED Education Podcast.
Accessible Cinema – 3rd Episode was first posted on March 27, 2019 at 6:50 pm.
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New approaches to audio description.
The post Olga Soler-Vilageliu – New Approaches to Accessibility Project appeared first on Fred Education Channel » FRED Education Podcast.
Olga Soler-Vilageliu – New Approaches to Accessibility Project was first posted on March 22, 2019 at 8:10 pm.
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LTA Project in the words of Gabriele Sauberer.
The post Gabriele Sauberer – Live Text Access Project appeared first on Fred Education Channel » FRED Education Podcast.
Gabriele Sauberer – Live Text Access Project was first posted on March 22, 2019 at 7:52 pm.
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A look at the creative world of short filmmaking.
The post Laurence Boyce #EDP2019 appeared first on Fred Education Channel » FRED Education Podcast.
Laurence Boyce #EDP2019 was first posted on March 18, 2019 at 9:25 pm.
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A conversation with an expert about film editing.
The post Phil Jandaly #EDP2019 appeared first on Fred Education Channel » FRED Education Podcast.
Phil Jandaly #EDP2019 was first posted on March 18, 2019 at 9:18 pm.
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Real-time subtitling from the user's perspective.
The post Marcel Bobeldijk – Live Text Access Project appeared first on Fred Education Channel » FRED Education Podcast.
Marcel Bobeldijk – Live Text Access Project was first posted on February 11, 2019 at 6:24 pm.
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The director and cinematographer introduces herself for FRED.
The post Katy Scoggin – Berlinale Talents 2019 appeared first on Fred Education Channel » FRED Education Podcast.
Katy Scoggin – Berlinale Talents 2019 was first posted on February 8, 2019 at 8:38 pm.
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Peruvian director and screenwriter introduces himself for FRED.
The post Gonzalo Ladines – Berlinale Talents 2019 appeared first on Fred Education Channel » FRED Education Podcast.
Gonzalo Ladines – Berlinale Talents 2019 was first posted on February 8, 2019 at 7:34 pm.
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The director and editor introduces himself for FRED.
The post Guy Nemesh – Berlinale Talents 2019 appeared first on Fred Education Channel » FRED Education Podcast.
Guy Nemesh – Berlinale Talents 2019 was first posted on February 8, 2019 at 7:23 pm.
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Film editor from Canada introduces herself for FRED.
The post Simone Smith – Berlinale Talents 2019 appeared first on Fred Education Channel » FRED Education Podcast.
Simone Smith – Berlinale Talents 2019 was first posted on February 8, 2019 at 7:15 pm.
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The director from Hawaii introduces himself for FRED.
The post Christopher Makoto Yogi – Berlinale Talents 2019 appeared first on Fred Education Channel » FRED Education Podcast.
Christopher Makoto Yogi – Berlinale Talents 2019 was first posted on February 8, 2019 at 6:57 pm.
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The writer and director from the US introduces himself for FRED.
The post Michael Curtis Johnson – Berlinale Talents 2019 appeared first on Fred Education Channel » FRED Education Podcast.
Michael Curtis Johnson – Berlinale Talents 2019 was first posted on February 8, 2019 at 6:37 pm.
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The LTA project and Intellectual Output 1.
The post Rocío Bernabé – Live Text Access Project appeared first on Fred Education Channel » FRED Education Podcast.
Rocío Bernabé – Live Text Access Project was first posted on February 2, 2019 at 8:37 pm.
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The LTA project in the words of two major experts in accessibility.
The post Rocío Bernabé, Pilar Orero – Live Text Access Project appeared first on Fred Education Channel » FRED Education Podcast.
Rocío Bernabé, Pilar Orero – Live Text Access Project was first posted on February 2, 2019 at 1:15 pm.
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Quality in media accessibility.
The post Estella Oncins – Live Text Access Project appeared first on Fred Education Channel » FRED Education Podcast.
Estella Oncins – Live Text Access Project was first posted on February 2, 2019 at 1:00 pm.
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The Velotype keyboard and its application contexts.
The post Wim Gerbecks – Live Text Access Project appeared first on Fred Education Channel » FRED Education Podcast.
Wim Gerbecks – Live Text Access Project was first posted on February 2, 2019 at 12:46 pm.
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Live subtitles at the LTA European project.
The post Miriam Hagmann – Live Text Access Project appeared first on Fred Education Channel » FRED Education Podcast.
Miriam Hagmann – Live Text Access Project was first posted on February 2, 2019 at 12:37 pm.
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Respeaking and Intellectual Output 2.
The post Carlo Eugeni – Live Text Access Project appeared first on Fred Education Channel » FRED Education Podcast.
Carlo Eugeni – Live Text Access Project was first posted on February 2, 2019 at 12:32 pm.
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Media accessibility: how cinema and live entertainment are made accessible to people with sensory disabilities.
The post Accessible Cinema – 2nd Episode appeared first on Fred Education Channel » FRED Education Podcast.
Accessible Cinema – 2nd Episode was first posted on November 29, 2018 at 7:40 pm.
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Accessibility beyond sensory impairments.
The post Accessible cinema: films for all – Workshop #Venezia75 appeared first on Fred Education Channel » FRED Education Podcast.
Accessible cinema: films for all – Workshop #Venezia75 was first posted on September 23, 2018 at 11:40 am.
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LTA project kick-off meeting.
The post Rocío Bernabé, Pilar Orero – Live Text Access Project kick-off meeting appeared first on Fred Education Channel » FRED Education Podcast.
Rocío Bernabé, Pilar Orero – Live Text Access Project kick-off meeting was first posted on September 20, 2018 at 7:02 pm.
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Elena Di Giovanni on media accessibility.
The post Elena Di Giovanni – FRED Accessible Cinema appeared first on Fred Education Channel » FRED Education Podcast.
Elena Di Giovanni – FRED Accessible Cinema was first posted on August 25, 2018 at 5:55 pm.
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Anna Matamala on media accessibility.
The post Anna Matamala – FRED Accessible Cinema appeared first on Fred Education Channel » FRED Education Podcast.
Anna Matamala – FRED Accessible Cinema was first posted on August 25, 2018 at 5:46 pm.
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Pablo Romero Fresco on media accessibility.
The post Pablo Romero Fresco – FRED Accessible Cinema appeared first on Fred Education Channel » FRED Education Podcast.
Pablo Romero Fresco – FRED Accessible Cinema was first posted on August 25, 2018 at 5:39 pm.
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Agnieszka Szarkowska on media accessibility.
The post Agnieszka Szarkowska – FRED Accessible Cinema appeared first on Fred Education Channel » FRED Education Podcast.
Agnieszka Szarkowska – FRED Accessible Cinema was first posted on August 25, 2018 at 5:21 pm.
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Media accessibility: how cinema and live entertainment are made accessible to people with sensory disabilities.
The post Accessible Cinema – 1st Episode appeared first on Fred Education Channel » FRED Education Podcast.
Accessible Cinema – 1st Episode was first posted on August 25, 2018 at 4:58 pm.
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An interview with one of the mentors of the 2018 Talents Sarajevo.
The post Eilon Ratzkovsky #24thSFF appeared first on Fred Education Channel » FRED Education Podcast.
Eilon Ratzkovsky #24thSFF was first posted on August 25, 2018 at 9:37 am.
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An interview with one of the mentors of the 2018 Talents Sarajevo.
The post Olivia Hetreed #24thSFF appeared first on Fred Education Channel » FRED Education Podcast.
Olivia Hetreed #24thSFF was first posted on August 21, 2018 at 5:30 pm.
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KVIFF pays homage to the Baltic cinema that was free from Soviet Ideology.
The post Lenka Tyrpáková #KVIFF53 appeared first on Fred Education Channel » FRED Education Podcast.
Lenka Tyrpáková #KVIFF53 was first posted on July 14, 2018 at 11:12 am.
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A film following the people battling poachers and transnational trafficking syndicates to protect elephants and rhinos from extinction.
The post Kate Brooks – The Last Animals #jedensvet2018 appeared first on Fred Education Channel » FRED Education Podcast.
Kate Brooks – The Last Animals #jedensvet2018 was first posted on March 16, 2018 at 7:52 pm.
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What would happen if everyone in the world gave up on eating meat?
The post Marc Pierschel – The End of Meat #jedensvet2018 appeared first on Fred Education Channel » FRED Education Podcast.
Marc Pierschel – The End of Meat #jedensvet2018 was first posted on March 15, 2018 at 7:45 pm.
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The great documentary filmmaker was the subject of a retrospective at this year's edition of One World.
The post Kim Longinotto #jedensvet2018 appeared first on Fred Education Channel » FRED Education Podcast.
Kim Longinotto #jedensvet2018 was first posted on March 14, 2018 at 8:17 pm.
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A journey into the dynamics of editing.
The post Dounia Sichov #EDP2018 appeared first on Fred Education Channel » FRED Education Podcast.
Dounia Sichov #EDP2018 was first posted on March 13, 2018 at 7:25 pm.
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Working with sales agents in 2018.
The post Peter Jaeger #EDP2018 appeared first on Fred Education Channel » FRED Education Podcast.
Peter Jaeger #EDP2018 was first posted on March 13, 2018 at 7:18 pm.
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Things filmmakers should consider when trying to make a perfect premiere.
The post Vanja Kaludjercic #EDP2018 appeared first on Fred Education Channel » FRED Education Podcast.
Vanja Kaludjercic #EDP2018 was first posted on March 13, 2018 at 7:06 pm.
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The film critic from Madagascar introduces herself for FRED.
The post Domoina Ratsara – Berlinale Talents appeared first on Fred Education Channel » FRED Education Podcast.
Domoina Ratsara – Berlinale Talents was first posted on March 4, 2018 at 1:31 pm.
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Director Katherine Fairfax Wright talks about her experiences and background.
The post Katherine Fairfax Wright – Berlinale Talents appeared first on Fred Education Channel » FRED Education Podcast.
Katherine Fairfax Wright – Berlinale Talents was first posted on February 28, 2018 at 9:20 pm.
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China's new international film festival.
The post Jia Zhang-ke – Pingyao Crouching Tiger Hidden Dragon International Film Festival #PYIFF appeared first on Fred Education Channel » FRED Education Podcast.
Jia Zhang-ke – Pingyao Crouching Tiger Hidden Dragon International Film Festival #PYIFF was first posted on November 7, 2017 at 6:58 pm.
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Pingyao Year Zero.
The post Marco Müller – Pingyao Crouching Tiger Hidden Dragon International Film Festival #PYIFF appeared first on Fred Education Channel » FRED Education Podcast.
Marco Müller – Pingyao Crouching Tiger Hidden Dragon International Film Festival #PYIFF was first posted on November 7, 2017 at 6:38 pm.
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Presenting "An Unprecedented Campaign" (Mikhail Kaufman, 1931) at the Giornate del Cinema Muto.
The post Ivan Kozlenko – Oleksandr Dovzhenko National Film Centre #GCM36 appeared first on Fred Education Channel » FRED Education Podcast.
Ivan Kozlenko – Oleksandr Dovzhenko National Film Centre #GCM36 was first posted on October 10, 2017 at 6:15 pm.
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The film historian dedicated the Giornate's 2017 Jonathan Dennis Memorial Lecture to the late great film preservationist David Shepard.
The post Russell Merritt – David Shepard – Shadowing Silent Film for Fifty Years #GCM36 appeared first on Fred Education Channel » FRED Education Podcast.
Russell Merritt – David Shepard – Shadowing Silent Film for Fifty Years #GCM36 was first posted on October 10, 2017 at 6:08 pm.
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An insightful look at the 36th Pordenone Silent Film Festival.
The post Jay Weissberg – 36th Pordenone Silent Film Festival #GCM36 appeared first on Fred Education Channel » FRED Education Podcast.
Jay Weissberg – 36th Pordenone Silent Film Festival #GCM36 was first posted on October 10, 2017 at 5:53 pm.
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A program of slapstick comedy shorts from the silent cinema starring women who are "a little bit nasty".
The post Laura Horak, Maggie Hennefeld – Nasty Women #GCM36 appeared first on Fred Education Channel » FRED Education Podcast.
Laura Horak, Maggie Hennefeld – Nasty Women #GCM36 was first posted on October 10, 2017 at 5:40 pm.
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An interview with the winner of the Collegium Award of the 2017 Pordenone Silent Film Festival.
The post Sebastian Köthe – Winner of the Collegium Award 2017 #GCM36 appeared first on Fred Education Channel » FRED Education Podcast.
Sebastian Köthe – Winner of the Collegium Award 2017 #GCM36 was first posted on October 7, 2017 at 4:25 pm.
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Silent films were made to be seen big.
The post Rob Byrne – San Francisco Silent Film Festival #GCM36 appeared first on Fred Education Channel » FRED Education Podcast.
Rob Byrne – San Francisco Silent Film Festival #GCM36 was first posted on October 5, 2017 at 6:01 pm.
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Revisiting the silent film canon in Pordenone.
The post Paolo Cherchi Usai – Pordenone Silent Film Festival #GCM36 appeared first on Fred Education Channel » FRED Education Podcast.
Paolo Cherchi Usai – Pordenone Silent Film Festival #GCM36 was first posted on October 5, 2017 at 5:53 pm.
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The scoring of Victor Janson's 1918 film, starring Pola Negri.
The post Alicia Svigals – The Yellow Ticket #GCM36 appeared first on Fred Education Channel » FRED Education Podcast.
Alicia Svigals – The Yellow Ticket #GCM36 was first posted on October 5, 2017 at 5:44 pm.
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New recently found and restored works of the great Georges Melies.
The post Serge Bromberg – Lobster Films #GCM36 appeared first on Fred Education Channel » FRED Education Podcast.
Serge Bromberg – Lobster Films #GCM36 was first posted on October 5, 2017 at 5:35 pm.
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An intensive workshop hosted by prof. Elena Di Giovanni.
The post Workshop on Cinema Accessibility #Venezia74 appeared first on Fred Education Channel » FRED Education Podcast.
Workshop on Cinema Accessibility #Venezia74 was first posted on September 14, 2017 at 9:10 pm.
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The dynamics of memory and photography.
The post Ron Haviv, Lauren Walsh – Biography of a Photo #23rdSFF appeared first on Fred Education Channel » FRED Education Podcast.
Ron Haviv, Lauren Walsh – Biography of a Photo #23rdSFF was first posted on August 22, 2017 at 10:38 pm.
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One of the Pack & Pitch projects from the 11th Talents Sarajevo
The post Diana Paroiu – I Hate Berlin #23rdSFF appeared first on Fred Education Channel » FRED Education Podcast.
Diana Paroiu – I Hate Berlin #23rdSFF was first posted on August 22, 2017 at 5:14 pm.
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A conversation about film noir with a true film noir expert
The post Eddie Muller – Film Noir Foundation #CinemaRitrovato2017 appeared first on Fred Education Channel » FRED Education Podcast.
Eddie Muller – Film Noir Foundation #CinemaRitrovato2017 was first posted on July 3, 2017 at 5:24 pm.
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Swedish films and the figure of Victor Sjostrom at Il Cinema Ritrovato
The post Jon Wengstrom – Archival Film Collections of the Swedish Film Institute #CinemaRitrovato2017 appeared first on Fred Education Channel » FRED Education Podcast.
Jon Wengstrom – Archival Film Collections of the Swedish Film Institute #CinemaRitrovato2017 was first posted on July 1, 2017 at 6:56 pm.
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What does the 2017 Pordenone Silent Film Festival have in store?
The post Jay Weissberg – Pordenone Silent Film Festival #CinemaRitrovato2017 appeared first on Fred Education Channel » FRED Education Podcast.
Jay Weissberg – Pordenone Silent Film Festival #CinemaRitrovato2017 was first posted on July 1, 2017 at 6:49 pm.
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