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23° Giornate degli AutoriThe 23rd edition of Giornate degli Autori will take place during the 83rd Venice International Film Festival, scheduled for 2-12 September 2026. This year’s programme is dedicated to Giorgio Gosetti, who founded the independent section in 2004 and remained one of its central figures for more than two decades.
“Stay with me!”, the phrase Gosetti often addressed to the festival team during the most demanding days of the event, has become the guiding principle of an edition marked by his sudden death on 6 March 2026.
Promoted by ANAC and 100autori, Giornate degli Autori confirms its commitment to cinematic discovery, artistic freedom and dialogue among filmmakers, audiences and professionals.
Speaking to Chiara Nicoletti for FRED Film Radio after the programme presentation, artistic director Gaia Furrer reflected on the unity Gosetti built within the organisation.
“We were hit by everything we did not want and did not expect. Fortunately, Giorgio made the Giornate team incredibly close and united. Together, we managed to move forward and carry his legacy with us.”
Giorgio GosettiTwenty-five world premieres and ten competition titlesThe 2026 selection was chosen among 1,036 submissions representing 114 countries. It includes 25 world premieres, 14 films directed by women and 13 Italian productions or co-productions.
Ten films will compete for the GdA Director’s Award. The programme also features one closing film out of competition, five special events and nine titles in Notti Veneziane, organised in collaboration with Isola Edipo.
The competition includes works connected to Australia, Switzerland, Serbia, Mexico, Argentina, Ukraine and Nigeria, which enters the Giornate degli Autori competition for the first time. Balcanica by Nicola Sorcinelli is the only Italian title in competition.
The opening film is My Notes on Mars by Hungarian filmmaker Lili Horvát, who previously attended the section in 2020 with Preparations to Be Together for an Unknown Period of Time. Her first English-language feature stars Mackenzie Davis and Rupert Friend.
Notti Veneziane will open with Scarpe rotte by Roberta Torre, starring Barbara Ronchi. Torre returns after presenting Le favolose in 2022. The programme also includes Robert Guédiguian with Une femme aujourd’hui, while Peau d’homme by Léa Domenach, starring Karin Viard and Catherine Deneuve, will close the edition.
A selection about displacement and belongingThe programme embraces sentimental science fiction, melodrama, historical cinema, an anti-heroic western, musical comedy and works suspended between documentary and fiction.
According to Gaia Furrer, the films are linked by characters who must reconsider identity, roots and belonging after losing their place in the world.
“You will encounter a very eclectic journey, with films engaging with different genres. There is western, melodrama, science fiction and historical cinema, alongside an important geographical variety,” she said.
“These are often characters who have had to leave their place in the world and must search for a new one, redefining their identity through a new idea of belonging.”
An all-female juryThe GdA Director’s Award, worth €20,000 and shared between the filmmaker and the international distributor, will be assigned by a jury composed of Spanish director Carla Simón, Italian filmmaker and editor Sara Fgaier, and Hania Mroué, director of Beirut’s Metropolis cinema.
Furrer explained that the jury’s composition was not planned as a symbolic gesture.
“We selected Carla Simón as president and then chose the other members. Only afterwards did we realise they were all women. Considering how many festivals have had all-male juries, it did not seem inappropriate.”
The Sala Perla audience will assign the Audience Award, while the Europa Cinemas jury will select the winner of its Label among the European titles.
Cinema, visual arts and public debateThe 2026 edition will pay tribute to Carla Lonzi, Natalia Ginzburg and Fernanda Wittgens, three major figures in 20th-century Italian culture.
The Miu Miu Women’s Tales project will present new short films by Claire Denis and Mona Fastvold, continuing a collaboration now in its fifteenth year. The official image has been created by Japanese photographer Rinko Kawauchi, whose work places the wonder of ordinary life at its centre.
Casa degli Autori and Sala Laguna will again host #confronti, a programme of screenings, debates and public conversations. Confirmed events include La Déclaration des Cinéastes, a session on film music organised with ACMF, a masterclass devoted to illustrator and poster artist Carlantonio Longi, and the second edition of Africa Chiama.
The collaboration with Isola Edipo will continue through events dedicated to memory, film education and industry development. Laguna Film Lab, a new year-long artistic residency named after Giorgio Gosetti, will support the creation of a collective film.
A new partnership with Venezia Cult will also bring Leo Ortolani and Dave McKean to Sala Laguna. McKean will be the subject of the exhibition Pictures that dream at La Villa.
The vitality of Italian independent cinemaFurrer also highlighted the strength of the Italian independent scene represented across the official selection and Notti Veneziane.
“This selection shows the great vitality of independent Italian cinema. There is an extremely lively creative ecosystem, with films made outside traditional structures that are able to speak about our present.”
For the artistic director, however, Giornate degli Autori remains more than a film selection.
“The films are the beacon, but they would not be enough. We need a family, we need a place. During the pandemic, we understood even more clearly how important it is to meet, exchange affection and share passions.”
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The Venice International Film Critics’ Week has unveiled the programme of its 41st edition. It will take place on the Venice Lido from 2 to 12 September 2026, during the 83rd Venice International Film Festival.
The Italian National Union of Film Critics organises the independent section. It will present seven debut features in competition and two special events out of competition. Every title will screen as a world premiere.
General Delegate and Artistic Director Beatrice Fiorentino curated the programme. The selection committee also includes Matteo Berardini, Marianna Cappi, Francesco Grieco and Marco Romagna.
“Imagining the future. Resisting the present” defines this year’s direction. The films approach cinema as an act of responsibility and formal research. They also examine a world shaped by political, social and technological change.
Speaking with Chiara Nicoletti for FRED Film Radio, Fiorentino explained the selection principle. “We cannot shut ourselves inside a bubble and pretend not to see what is happening outside.”
Programming as a political choiceFor Fiorentino, festival programming is never neutral. Images reflect the world in which they are produced. Therefore, choosing which stories to show also means taking a position.
“When you programme a festival, you encounter stories and images that mirror the world in which we live,” she said. “Choosing which stories should be shown becomes an act of responsibility.”
However, the final line-up also emerged through a fluid process. “You make programmes with the stories you encounter. The selection process is very dynamic,” Fiorentino noted. “At a certain point, the programme partly shapes itself.”
The political character of the selection concerns both content and form. “Every film is political,” she said. “We care deeply about language and formal research. We listened to political stories and tried to make the selection politically.”
The programme also includes several independent productions. Some were made with limited resources. Nevertheless, Fiorentino stressed their artistic precision and strong awareness of the medium.
Colombia, archives and historical memoryTwo films represent Colombia. The End of Times, directed by Bibiana Rojas Gómez and Juan David Cárdenas, combines family archives, colonial memory and artificial intelligence.
The film questions the need to generate new images in an already saturated world. “There is a declaration of image economy at the basis of the project,” Fiorentino explained. “Does it still make sense to shoot new images, or can cinema use those that already exist?”
A woman searches for the origins of her mother’s sadness. Gradually, that private investigation reveals the trauma of an entire country. “While looking for the reasons behind one woman’s suffering, the film discovers the roots of a people’s malaise.”
The second Colombian title is Meteorite by Sebastián Múnera. It follows two women through a landscape marked by violence. A theme park built on the ruins of Escobar’s empire stands beside a regional prison.
Bodies, technology and environmental crisisTunisia enters the competition with The H@llow Man by Kamel Laaridhi. The dystopian drama is set in 2059. In its world, a biochip controls memories and suppresses emotions.
“It is a form of para-science fiction,” Fiorentino said. “The future becomes a pretext for bringing present urgencies back into focus.” In the film, poetry becomes a defence against technological control.
Brazilian directors Victor Di Marco and Márcio Picoli present London. The queer drama explores disability, sexuality and self-determination. It also rejects reducing identity to a clinical diagnosis.
Meanwhile, Our Share of Sand by Shalini Adnani examines inequality and environmental exploitation. The India, United Kingdom and Greece co-production begins as a family drama. It then exposes a system shaped by silence, profit and sand extraction.
Italian masculinity and Generation ZItaly competes with Before the War by Tommaso Usberti. The film is co-produced with France and set in the Po Valley.
Its protagonist grew up in a racist and misogynistic environment. He must confront a model of masculinity based on violence and emotional repression.
Fiorentino described it as “a film that feels both contemporary and ancient.” She also noted “a Pasolinian tragedy of bodies” and landscapes that recall the early Bernardo Bertolucci.
Zoom In, Zoom Out by Dong Jie represent China. The urban mystery combines online gaming, digital identity and alienation.
Fiorentino called it “a manifesto film for Generation Z.” She also described it as “an updated Blow-Up and L’Avventura for the age of online gaming.”
The Italian opening and closing filmsThe section will open with Giaffa the Great by Marco Santi. The cast includes Edoardo Pesce, Carlotta Gamba, Barbara Chichiarelli and Roberto Zibetti.
The protagonist is a socially invisible man. He is willing to alter his identity to be recognised.
According to Fiorentino, the film reflects “a completely schizophrenic society in which all points of reference have collapsed.” She added, “Being seen and finding a role in the system becomes more important than finding oneself.”
The closing film is Rider by Roan Johnson and Davide Pavanello. The rap musical features Levante, Rosa Chemical and Margherita Vicario.
“It was immediately striking,” Fiorentino said. “Even the spoken sections are in verse.” She compared its energy to an updated West Side Story.
The film addresses precarious labour, generational conflict and class divisions. “There is still a class conflict that nobody discusses anymore,” she said. “Yet it is far from resolved.”
SIC@SIC and the awardsThe programme also includes the 11th edition of SIC@SIC, developed with Cinecittà. The Critics’ House will also return in a new location.
Competition titles will be eligible for the IWONDERFULL Grand Prize, the Audience Award and the Luciano Sovena Award. They will also compete for the Mario Serandrei Award and the Verona Film Club Award.
Eligible debuts will enter the race for the Lion of the Future, the Venice Award for a Debut Film.
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The 83rd Venice International Film Festival, directed by Alberto Barbera, has revealed the films that will open and close its 2026 edition.
Danny Boyle‘s Ink will launch the festival on Wednesday, 2 September. The film will screen in Competition at the Sala Grande on the Venice Lido.
The festival will end on Saturday, 12 September, with the world premiere of Giovanni Veronesi‘s Dio ride. The historical drama will screen Out of Competition immediately after the awards ceremony.
The two films tell very different stories. Yet both explore how ideas shape society. Boyle examines the rise of modern mass media. Veronesi examines the relationship among faith, power, and individual freedom.
Danny Boyle opens Venice with InkInk by Danny BoyleDanny Boyle returns with Ink, his first film selected for the official programme of the Venice Film Festival.
Screenwriter James Graham adapted the screenplay from his Tony Award-nominated stage play. Boyle sets the story in 1969, when Rupert Murdoch acquired The Sun and appointed Larry Lamb as editor.
The film follows their partnership as they reshape British journalism. Their editorial strategy turns The Sun into the country’s best-selling tabloid and changes the relationship between newspapers, politics and public opinion.
Jack O’Connell plays Larry Lamb. Guy Pearce stars as Rupert Murdoch, while Claire Foy plays Jules Davies.
Boyle welcomed the invitation to Venice and called it “an immense honour.”
“1969 is remembered as the year we first landed on the Moon,” he said. “It is also the year Rupert Murdoch and Larry Lamb launched a newspaper that changed the world in another way.”
Alberto Barbera praised the project for bringing together Boyle, Graham and “three of the most highly regarded actors in contemporary British cinema.”
STUDIOCANAL, MEDIA RES and House Productions produce Ink. Lucky Red will distribute the film in Italy.
Giovanni Veronesi closes the festival with Dio ridePierfrancesco Favino in Dio Ride di Giovanni VeronesiGiovanni Veronesi will close this year‘s Venice Film Festival with Dio ride. The film will receive its world premiere on 12 September at the Sala Grande.
Veronesi freely draws on real events and sets the story in seventeenth-century Italy. The protagonist is Fra Leopoldo da Casamacchia, a friar who speaks about God with joy and simplicity. His sermons attract thousands of followers and spread quickly across the countryside.
While the Church continues to preach in Latin, Leopoldo speaks directly to ordinary people. He offers hope instead of fear and presents a God who laughs alongside humanity.
His growing popularity soon reaches Rome. Pope Innocent X asks Cardinal Maculani, one of the Church’s leading inquisitors, to investigate. What begins as a trial soon becomes a debate about faith, truth and authority.
The cast includes Pierfrancesco Favino, Silvio Orlando, Alma Noce, Francesco Gheghi, Maurizio Lombardi, Paolo Rossi and Carlo Cecchi, who plays Pope Innocent X.
Veronesi admitted that the invitation came as a surprise. “I usually struggle to express my emotions. This invitation to the Venice Film Festival surprised and honoured me. I’m happy. There, I’ve said it.”
Barbera believes the film captures the best tradition of Italian cinema. “We will close the festival on a high note thanks to Giovanni Veronesi and his outstanding cast. They combine irony and lightness with a subject that usually receives a much more solemn treatment.”
Veronesi wrote the screenplay with Nicola Baldoni, Gianluca Bernardini and Nicola Deorsola. Paolo Portone and Jean Jacques Ilunga collaborated on the script.
Indiana Production, a VUELTA company, produces the film in collaboration with Netflix, PiperFilm and Ogi Film.
PiperFilm will release Dio ride in Italian cinemas on 29 October. PiperPlay handles international sales.
Two films that reflect on power and influenceThe Venice Film Festival has chosen two films that speak to each other despite their different settings.
Ink explores a decisive moment in the history of modern journalism. It shows how newspapers shaped public opinion during a period of profound social change.
Dio ride moves back three centuries. It follows a man whose message of compassion challenges religious and political authority.
One story centres on the media. The other focuses on faith. Both ask the same question: who has the power to shape public thought?
Together, the two films frame the 2026 Venice Film Festival with stories about influence, belief and the forces that continue to define contemporary society.
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Belgian filmmaker Isabelle Tollenaere, already known and acclaimed at major festivals for her highly poetic hybrid documentaries exploring “the interplay between the rapid transformation of our physical world and the human experience of time and memory”, such as Battles (2015) and Victoria (2020), has just presented her first scripted feature film, a docufiction suggestively titled Paris Paris, in the Proxima Competition of the 60th Karlovy Vary Film Festival (July 3-11, 2026).
This work – another beautiful and deeply moving expression of her fascination with places and their constant transformation in resonance with the individuals inhabiting them, and with what traces they leave when one or the other disappears – is indeed reminding, well beyond its title, of the mix of melancholy and tenderness found in another film where the “Paris” opening the title was not in France, and also bears echoes of another one which could have been called “Paterson, Paterson” – and generally speaking of the body of work of both the cult filmmakers to whom we owe these masterpieces –, while the framing of its scenes and the bareness of its setup crowded with existentialism often evokes a slightly less defeated Samuel Beckett, as humour and human connection really shine through in Paris Paris (with no comma between the two city names).
As Tollenaere herself points out, in her first reality-based fiction work, the underlying themes of alienation, bottomless nostalgia for places which do not exist anymore, and suppressed longing, as only the present seems to count, are balanced by the friendship and warmth of the variegated community of displaced people we meet as they try to find their place in Paris, France – at the language class where the film starts, but especially between the naked walls (except for one adorned with wallpaper featuring the Eiffel Tower) of the abandoned flat where three most endearing characters Yi-En from China, Junior from the Democratic Republic of Congo, and Hamzah from Palestine end up “finding a home with each other”.
A replica of Paris in China as the spark for the filmOn what sparked the making of this movie: “When I found out there was a replica of Paris that was built in China, I was immediately fascinated by this and I also quite immediately had the idea to make a film based on the doubling of the same city, without knowing what it could entail yet.”
“So I went to Tianducheng, which is where the replica of Paris was built, and I was really struck by this construction fever that I saw everywhere. Entire neighbourhoods were being demolished and there was construction happening everywhere, so there was a drastically rapid changing of the landscape occurring, and I also heard testimonies of people saying ‘when I leave home for a while and come back, I don’t recognise the place anymore. I can’t find my way home anymore,’ so this is when the themes of loss, disappearance, memory, and the precariousness of home first started erupting.”
“And then I thought that maybe I could combine this with filming a Chinese community or a Chinese person in Paris, France but then I felt like I did not want to focus too much on the concept of China, but more on the feeling of foreignness and alienation and on this idea of having to leave home behind and trying to find a new home in this new place, so I came up with a story of the three men coming from very different parts of the world, each carrying memories of other cities with them.”
A script written over ten years, shaped by real livesOn the incredibly precise and rich script, so elegantly carried by the thoughtful mise-en-scène and cinematography that it lets meaning emerge and texture build in the space between the lines: “As I was telling the Czech audience the other day, I actually wrote the first draft in the Czech Republic, where I came on a holiday, back in 2015, so I worked on it for a very long time.”
“[It represents] many years of finding things in reality and bringing them into the script, and then again throughout the process of the casting and the repetitions that we did, during which they [the non-professional actors, here playing slightly different versions of themselves] brought their personal stories and personal objects, and [in the case of Mahmoud], who actually writes poetry, the poem I included in the film, after he recited it for me, and all these things sort of came together.”
“Which was super fascinating, […] and I feel like it makes the script more alive and much more valid and true, and this is also what excites me in filmmaking: this exchange with the people I work with and what they bring to the film and how they help shape the film.”
Disappearing, with or without a traceAbout disappearing, with or without a trace: This recurring motif “speaks of the reality of their situation”, says Tollenaere, and she witnessed it first hand during her research on the ground.
“People sometimes just completely disappeared, and I don’t know what happened to them and it really touched me a lot, so I wanted to include this in the film. It is a very precarious situation, and although there is a lot of lightness in the film […], I also wanted to bring out this reality of their situation, and the hardship of the situation and the inhumanness of the situation.”
Balancing hardship with warmth and humourOn finding the right balance between hardship and warmth: “I wanted to strike a balance between making a very political film and, on the other hand, [also having] a lightheartedness and a kind of humour in the film, and a playfulness – not to diminish this reality, au contraire, but actually to show these people’s resilience and their humanness.”
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After premiering his first feature (Namo, 2020) at the Berlinale, his second (The End, 2022) in Busan, and collecting the Audience Award in Venice with the third (The Witness, 2024), acclaimed Berlin-based Iranian filmmaker Nader Saeivar celebrated the premiere of Hijamat, his fourth feature as a director, Czech style, at the 60th Karlovy Vary Film Festival (July 3-11, 2026).
The narrative pace and style of this contender for the Crystal Globe, set in Berlin amongst a rather instantly claustrophobic Turkish community presenting a boisterous mosaic of stifling religion-related conundrums, clearly bears the signature which has earned Saeivar international recognition as a screenwriter and regular collaborator of Jafar Panahi, especially for the latter’s 3 Faces (2018), which garnered the Best Screenplay award in Cannes, and of course for his more recent It Was Just an Accident, winner of the 2025 Palme d’Or, which they also wrote together.
This immediately recognisable footprint certainly also has to do with the fact that Jafar Panahi produced Hijamat, and served as the film’s editor as well.
A community’s diversity crushed by one rigid authorityThe whole progression of Hijamat hinges on the irreconcilable contradiction between the evident diversity (of generations, of relationships with traditions, of “ways of being a Muslim”, or of sexual identities) existing even within this tight-knit community and the monolithic rigidity of what is considered acceptable by the local imam, whose prescriptions everyone in the community constantly seeks, on each and every subject of daily life, anchoring the hold of this religious authority on the private sphere, which becomes inexistant, and obliterating the individual itself.
In the case of the main character, Murad (Kida Khodr Ramadan), who takes it upon himself to support his brother Kerem, exposed as gay, the notion of sin which the imam systematically dangles over every situation manifests in the form of his stifling sense of duty, which clearly appears as a deeply internalised corollary concept from which Murad cannot escape, having chosen to stay repressed.
Berlin, and the mental walls people build around themselvesOn the apparent paradox of having a variegated community and one single inescapable guiding principle: “I was really lucky that my first destination, when I emigrated, was Berlin, a very cosmopolitan, multicultural city where you cannot say which culture is the dominant culture. Many Germans believe that they themselves are foreigners in their own city. When I arrived in Berlin, discovering this multicultural city changed my way of thinking and of seeing things.”
“Then I realised that everybody, of all generations and ethnicities etc., had, all of them, one problem, and that’s the mental walls they build around themselves. You can see it very often in Berlin, everywhere. These walls are made of different materials, but all of them are really tall. For muslim communities for example, these walls are made of religion or superstitions, but for the Westerners, these walls are made of rigid laws and regulations and they think nothing can be changed, nothing can transcend that. So I decided that if I was going to live in Berlin, the first thing I was going to do is attack these walls.”
The meaning behind the title: drawing out the “dirty blood”On the meaning of the “hijamat” in the film: The title refers to a technique frequently practiced in many Muslim countries, which involves placing cups on someone’s back to pull the skin into traction, which results in a laceration of the skin with drawing of blood into the cup.
Saeivar explains that as Murad feels that the community, whilst also offering protection, is controlling his life, dictating all the rules, “in order to overcome these rules, he changes his blood, takes out the dirty blood, which is the symbol of wrong beliefs, or outdated beliefs.”
As the conversation then moves to the many interesting, key characters in the film, which includes the young, sleepwalking son (the first character to appear, in the very first shot), the screenwriter-director adds that “in many religious, if you don’t change these outdated and wrong beliefs, old beliefs, if you don’t remove that blood, these things can happen again to the next generations, repeat themselves, as you can see through the son.”
Nastassja Kinski as the ghost of Germany’s pastAmongst the many motifs running through the film are the function of stories, painting, the Kosovar Muslim wife of Murad, Leyla (Nicolette Krebitz), and also the strictly peripheral presence of Berlin and Germany around this community, with the exception of one recurring figure – a disturbed German elderly woman played by Nastassja Kinski.
“The reason why I chose Nastassja Kinski for the role of Margot, says Nader Saeivar, is that she represents the glorious past of Germany and German cinema, as well as modern Germany, the reality of today, which is that what was once working does not work anymore. [She is consumed] by her memories, by the fact that she lives in the past. This is exactly what religion does in the East. What religion does in the East, memories and the past are doing to the Westerners.”
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Director Jan-Eric Mack and co-writer and actress Anna Schinz met us during the 60th Karlovy Vary Film Festival (July 3-11, 2026) to talk about the former’s first solo feature, A Happy Family, the first ever Swiss film to run for the prestigious Crystal Globe.
This story of a struggling single mother, covered in debts and juggling several menial jobs which distract her from properly taking care of her two children despite her best efforts, which then leads social services to entrust the kids to a temporary foster family on the other side of the country, owed Anna Schinz the Best Actress Award at the closing ceremony.
A project born out of an image seen during the pandemicOn the origins of the project, Jan-Eric Mack: “It came by just by chance actually. We started doing research after we had seen, during the covid pandemic, people queueing up for food in Switzerland, which is really an image we hadn’t seen before. It’s not something you see very often there, poverty on the street, because it’s something which is mainly hidden, and that’s why we got into this topic, to find out who is affected and why.”
A title that invites reflection on the meaning of familyJ.-E. M.: “For us, it was important not to have that title be cynical, but to think about what is a happy family and ask if that image of a perfect happy family really exists, because we firmly believe everybody has a different view on this topic, and there is no family without trouble or a second layer.”
Refusing to judge this struggling mother, or anyone involvedAnna Schinz: “We tried to like capture the whole complexity of this subject, including on the side of the authorities – their work and what they do. It’s not about black or white, it’s not about good or bad, it’s not about blaming anybody: it’s about life, and people, human beings, making mistakes.”
It takes a village: realising she cannot do it all aloneJ.-E. M.: “It was important that she realised that she is part of the solution in the end, after she brings her own child into a big conflict of loyalty by overstepping all these borders just to be close to them. We understand her need to be close to them, but at the same time, it’s kind of a selfish act. We always tried to understand and ask ourselves: ‘What would I do? Could I just stay at home and do nothing?'”
“But actually we found out, doing our research, that everybody was searching for their kids, always! That’s what the officials told us, and even if it means becoming a criminal, they just want to have their kids back.”
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American actress Ellen Burstyn has been awarded the Golden Lion for Lifetime Achievement at the 83rd Venice International Film Festival, which will take place between September 2 and September 12, 2026.
The decision was approved by the Board of Directors of La Biennale di Venezia following a proposal by Artistic Director Alberto Barbera.
Burstyn becomes the second recipient of this year’s career honour after George Clooney, whose Golden Lion for Lifetime Achievement was announced earlier by the festival.
Widely regarded as one of the defining actresses of modern American cinema, Burstyn has built an extraordinary career spanning more than six decades across film, theatre and television. Her performances in The Last Picture Show, The Exorcist, Alice Doesn’t Live Here Anymore, Resurrection, Requiem for a Dream and Interstellar have secured her place among the most influential performers of her generation.
“I feel so honoured”Accepting the award, Burstyn expressed her excitement with characteristic warmth.
“Wow! Not only do I get to travel to one of my favourite cities in the world, but I’ll be going home holding a Golden Lion in my arms. The Golden Lion for Lifetime Achievement from the Venice Film Festival! I feel so honoured, so happy, so full of gratitude. Truly, wow!” said Ellen Burstyn.
Alberto Barbera: “An actress of rare intensity”In announcing the award, Alberto Barbera praised Burstyn as an actress whose performances have consistently revealed emotional truth and extraordinary depth.
He highlighted her breakthrough in Peter Bogdanovich’s The Last Picture Show, her international recognition with William Friedkin’s The Exorcist, and her Academy Award-winning performance in Martin Scorsese’s Alice Doesn’t Live Here Anymore. He also recalled her collaborations with filmmakers including Alain Resnais, Paul Schrader, Bob Rafelson, Paul Mazursky, Darren Aronofsky and Christopher Nolan, describing her as a performer whose work has become a benchmark of authenticity and artistic integrity.
The award ceremony and Flesh ImpactBurstyn will receive the Golden Lion ahead of the world premiere of Maggie Gyllenhaal‘s short film Flesh Impact, a tribute to Marilyn Monroe marking the centenary of her birth.
The ceremony will be hosted by Greta Scarano and Nicolas Maupas, recently announced as the presenters of both the opening and closing ceremonies of the 83rd Venice International Film Festival.
The short film stars Dakota Johnson, Peter Sarsgaard, Sepideh Moafi, and Burstyn. Johnson portrays Monroe at the height of her fame, while Burstyn plays an imagined older version of the Hollywood icon. The title Flesh Impact references the expression once used to describe Monroe’s almost tangible screen presence.
A career across six decadesBurstyn belongs to the exclusive group of performers who have achieved the Triple Crown of Acting, having won an Academy Award, a Tony Award and two Emmy Awards. She has earned six Academy Award nominations and remains one of the most respected figures in American acting.
Her recent projects include The Exorcist: Believer, Mother, Couch, The First Lady and Law & Order: Organized Crime. She will next appear in Place To Be, directed by Kornél Mundruczó and co-starring Taika Waititi.
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Serbian director Miroslav Terzić has just premiered his third feature, 3 Weeks After, in the Crystal Globe Competition of the Karlovy Vary Film Festival 2026.
This relentlessly cruel story about bullying, at once fascinating and hard to watch, implacable and extremely layered, deeply anchored in reality and allegorical in its very striking and masterful aesthetics, garnered the Europa Cinemas Label.
The jury, unanimously “captivated right from the first shot and until the very end”, was impressed by the “remarkably strong and authentic performance” delivered by the ensemble cast, the choice of portraying the lives of “adolescents today through their own eyes, allowing their voices and perspectives to shape the narrative in a genuine and convincing way,” and found “Miroslav Terzić’s filmmaking stunning in every aspect of its craft.”
“The film,” the jury concluded, “urges us to truly hear young people, be there for them and not look away!”
A project born from a single sentence, ten years agoThe project, Terzić explains, started over ten years ago, when Branislav Trifunović, the producer of the film (and actor, in the role of the maths teacher supervising the school trip next to the head teacher played by Tihana Lazović), and Vladimir Arsenijević, the screenwriter, started to work on this script about peer violence and called him.
“We decided not to make some kind of docu story on one specific case,” says the director. Within the research material, he remembers, there was one sentence, from the mother of a boy who committed suicide, who said that the class went on an excursion three weeks after the fact, so “we tried to imagine what that excursion would look like.”
Not just bullying, but a violent societyHowever, continues Miroslav Terzić, “as we tried to find the best way to tell the story, we realised it was not just about peer violence, but about a violent society, about violence, and we live in that society. When you turn around, watch TV or Internet or whatever, there is violence all around us, and we were struck by that normalisation of violence.”
“So we tried to show the audience that they are in the fire too – which is why there is a fire in the beginning, but no one is doing anything to prevent it –, that we are in the fire right now, at this very moment, but we are turning our heads [the other way].”
The responsibility of adults, and the fading of empathyIf the film certainly includes a commentary on the current young generation present in the film, it also suggests that the responsibility lies with the grown-ups, and with society as a whole: “They have grown up with the Internet, their phone is like a new organ for them, and they see the world through that, and what we serve them through that is disturbing, so we cannot expect… Somehow, empathy […] is slowly fading away from this society, [it’s almost] extinct, so I think that that we must teach them to feel again, not to be afraid to have real feelings.”
“They are protected by their phones and live some kind of alternative life, so we must teach them to see violence and to stand up against it, even if it’s hard, and help whoever needs help. Because in every story about bullying, there are three sides, not two: there is the bully, there is the victim, and there is a third side, and it is the biggest one, which is that of the spectators, the people who are watching and do not interfere. It is them who let the bullies have all the power.”
“[…] We gave them that power by not protecting the weak, the people who need help. […] I’m blaming society, because when tragedies happen, everyone talks about it and after three days, everyone forgets and continues on with their life, but this is not enough time to deal with that tragedy, [and it means we are not doing] anything to prevent a new tragedy.”
A striking, allegorical aesthetic to multiply perspectivesThe striking aesthetics of 3 Weeks After also takes the subject to another, more abstract or allegorical dimension, beyond the Balkans angle or the generational and societal comment.
“We wanted to tackle this topic from many different angles,” Terzić points out, “and leave it to the audience to decide how they choose to approach it. […] There are a lot of underlying layers and a lot of metaphorical and allegorical elements, and we break the fourth wall too, three times, in the movie.”
We also discuss the moral reflection stemmed by the “they made me do it” argument, the animality the group reverts to, the implications of the inherent gregariousness of humans, the purifying symbolism of the cave where the guilt-ridden victim finds a refuge, and the longing for connection and embrace expressed in the magnificent ending.
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Eight years after the premiere of Pause, her debut feature (after several internationally acclaimed shorts, followed by a few more after Pause), at the Karlovy Vary Film Festival (East of the West Competition), Tonia Mishiali was back at the Czech event 2026 with her second feature-length movie, The Lion at My Back, this time vying for the Crystal Globe, and was awarded the Grand Prize of the Ecumenical Jury.
We met the Cypriot director to discuss further this work, announced as the second instalment of a trilogy exploring the role of women in modern-day society, where the thoughtful mise en scène and the splendid, impactful cinematography actively accompany, in the many spaces where the action of this Cyprus-set story unfolds, the two female protagonists.
A forty something local with a past who is fighting for the custody of her daughter and a young migrant who finds herself outside the door of the home where she was living on her 18th birthday – compellingly embodied, with all their nuances and contradictions, by Elena Kallinikou and Sokhna Diallo – as they struggle to find their place, and gradually develop a moving bond which ends feeling like home.
A mother-daughter story rooted in personal experienceOn the background of the story, Mishiali explains that the idea to pair an ode to the mother-daughter relationship with the depiction of the situation of a young immigrant came from her personal attachment to both themes (being a mother and “a refugee in [her] my own country”), and was further fuelled by her encounter with women, mostly African, seeking asylum in Cyprus.
We also talk about the way the film combines intimate close ups with an interesting treatment of space, or rather spaces (from safe to hostile, open to claustrophobic, inhumane to warm), including “the space that is contained within them”, which the director approached instinctively, with an awareness of her characters’ need to breathe, too.
Shooting on 16mm for a rawer, more organic feelOn the choice to shoot on 16mm: “I first met Manu Tilinski, my cinematographer, in Athens, because I wanted to work with a new cinematographer and so I met a few, and in my mind, even before I met him, was the sense that I had to do this film on 16 mm, and because there’s always budget restrictions and all that, I thought it was never going to happen, and I had no experience with film – I have only worked with digital –, so I thought if I am going to do that, I have to work with a cinematographer who has this experience.”
“And I didn’t say anything to him and as soon as we met, as he had read the script, he went, ‘You know we have to shoot on 16 mm, right?’ and I said, ‘Thank you!’ Because the idea is that the film is quite raw, and rough, so I think this roughness that comes from film, the grain, that feels more organic.”
Casting the two leadsTonia Mishiali explains how she went about choosing her actresses, and how Sokhna Diallo joined the project as a professional actress when the first actor Mishiali had in mind, a Somalian non professional, had to suddenly leave Cyprus for safety reasons.
She also give us more details on how they found the right chemistry to give a sensitive depiction of the bond between Stella and Mariama, and evokes the male characters in the film.
“Maya”: the third chapter of the trilogyOn the third instalment of her trilogy, Maya, already in the works: “So the trilogy is really about women living on the sidelines and trying to find themselves and establish themselves in the world, and enjoy their rights and be prominent and be out there and be respectful – to themselves first, and towards each other – and get respect from others. So in general, it’s really about women rebelling […]. So I started with Stella in Pause, a 50-year-old woman who was oppressed and tried to find a way out… […]”
“And then the third one is called Maya and it’s about a 30-year-old woman, so I’m going down in age, and again it’s similar – she feels different, she’s trying to fit in, etc. –, but it’s actually a genre film, it’s a fantasy film. So I am using another genre but again, it’s character-based, so it’s really about her finding herself as she inherits a house in the countryside and leaves the city to go there, and enters a patriarchal world of hunters in the woods, killing lots of animals, and finds herself attracted to this world, and meets goblins in the forest.”
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This year at the Karlovy Vary Film Festival 2026, not only was Ivan Ostrochovský selected in the main competition with Only Beautiful Things to Look At, his third fiction feature after Goat (2015) and Servants (2020, chosen as the Slovak candidate for the Oscars), but he also world-premiered, amongst the Special screenings of the Classics section, his new documentary, Igor and After, dedicated to visionary Czechoslovak cinematographer Igor Luther (who worked with Juraj Jakubisko, Volker Schlöndorff on his Palme d’or winner The Tin Drum, and Andrzej Wajda on Danton, amongst others).
He also produced the winner of the Special Mention of the Proxima Competition, Anna and Šimon Domček’s 33 Steps.
Only Beautiful Things to Look At, the suggestive title of which is all the more intriguing that the film deals with the State-funded sterilisation of Roma women in Czechoslovakia in the 1980s, ended up earning Ostrochovský the FIPRESCI Award of the Crystal Globe Competition.
This bodes well for the US remake of the film (focusing on the forced sterilisation of almost half of the Native American women which was conducted across the pond between the 1970s and the 1980s) he has already started working on, with the help of his regular producer Katarína Tomková.
FRED met with her and the prolific filmmaker on a balcony of the famous Thermal Hotel to discuss the very unique angle he chose, in his KVIFF critics’ favourite, to tackle a sordid issue through images and situations often beaming with serene harmony and human connection.
A doctor who sees sterilisation as compassionOn the choice of approaching the subject of enforced sterilisation through the eyes of a female doctor who sees sterilisation as a compassionate procedure: “I met a lot of doctors from the 80s, and the problem is that some of them really thought it was helpful to these Roma women, that having three kids instead of ten would make their lives easier. […] So the law says yes, and in context, it seems okay, but morally it’s not, and this is a problem for all times, not only the communist era.”
“There was forced sterilisation in the US, in Norway, in Australia, in Canada: it’s not limited to the eighties in Czechoslovakia, it has also happened in democratic countries. […] This is also related to the desire to have a nice, comfortable life. These doctors think that if you only have two kids, you life will be easier: you can go on vacation, have a car. [This notion] of a nice life is how you end up having sterilisation.”
Ingrid and Agata: the bond between doctor and victimOn the bond which develops between Ingrid, the doctor played by Aňa Geislerová, and Agata, the Roma nurse who tries to hide her origins, and on the complexity of both characters, Ostrochovský says that he found interesting to understand how the doctor thinks, but also wanted to find a way to make her change and see things differently, which he did by introducing this young girl who is a victim, ie. using the victim to confront the person responsible.
Casting Simona Boledovičová as AgataOn the choice of Simona Boledovičová to play Agata: “She had never played in a movie. It took a lot of time to find her, also because we wanted her to be half Roma – so many films with gypsies have been made before that [if you work from a set of stereotypes] about gypsies, you’re not interesting.”
“Also, if it [forced sterilisation] happens to a woman who is only half Roma, it’s a short way away from happening to Slovak women with social problems […] and the idea of cleaning social problems in this manner. [If you show] it as a problem which affects not only gypsies, but also poor people, our hope is that in this way, we can get under the skin of people holding stereotypes.”
Beauty hiding darkness: the film’s visual approachOn the beautiful, serene aesthetics of this superbly lit and sunny film, interspersed with oneiric scenes showing an almost magical nature as well as moments of tenderness and laughter: “The topic is already tough, so we did not want to push it further visually. We wanted to find nice places, since these people want a nice life for the gypsies, and so visually we wanted [everything to be beautiful] and then to have [darker] things hiding in these nice visuals, and then slowly amp it up.”
“Because if the film is nice visually and thus goes against the topic, maybe it is more scary than if you show an ugly socialist hospital and ugly places and bad cars. Visually, [we wanted to represent] Ingrid’s idea of a nice life – she wants a nice life for everybody, and she destroys many lives.”
Shooting across three countries and three summersKatarína Tomková on the challenges of the production of a film with such rich visuals and interesting locations: “It was a bit challenging because for example when it came to the architecture, we were looking, not for the typical communist architecture, but for a turn-of-the-century architecture which I would call Habsburg, from the end of the imperial era – buildings which of course, in the 80s, were a little bit rundown –, because these buildings do exist, but now they have been reconstructed, they have plastic windows, etc.”
“So it was tough to find this one complex place in one location. The hospital, I think, was shot in six or seven different locations spread around the Czech Republic, Slovakia and Hungary. […] But Ivan had a specific idea of the visual aspect he wanted.”
“[…] So in those terms, yes it was a little bit challenging to have the production happen across three countries, with crew from three countries and cast from three countries, and also we shot across three summers – which had a lot to do with filming [the doc] Photophobia the first summer, because the film was reacting to the situation in Ukraine.”
“But I think that we had an amazing cast and crew, and our partners and coproducers all understood and followed Ivan’s vision, so I feel like we all formed a coherent team, which eventually got us to this wonderful premiere here in Karlovy Vary.”
The post “Only Beautiful Things to Look At”, an interview with director Ivan Ostrochovský and producer Katarína Tomková appeared first on Fred Film Radio.
Kristina Grozeva and Petar Valchanov bring their fifth feature film to the main competition of the Karlovy Vary Film Festival 2026, where they won the Crystal Globe for The Father in 2019. With Black Money for White Nights, the Bulgarian directing duo, also known for their ‘newspaper clippings’ trilogy, which started with their internationally acclaimed debut 2014 The Lesson (followed by Glory in 2016 and completed with “Triumph” in 2024), they offer the type of cruel social satire they have become known for – paired with a moral tale where money plays a major role, and a breathless race from one hurdle to the next, all the while running with scissors.
At the centre of the film is the plight of a nearly retired married couple (played by Tanya Shahova and Ivan Savov), who have become infected by a lifetime spent living in a corrupt society where deceit is part of daily life, and keep carrying outdated values inherited from the communist era into an indifferent capitalist world where they still get crushed by the old mechanisms they help perpetuate (by continuously scratching their backs, so to speak).
Building contradiction into the titleOn the strange sense of balance suggested by the title of the film, “it was very important for us to build this contradiction in the title,” says Grozeva, “because we hoped that this would reflect the mood of the whole movie. I think this contradiction contains both the tragedy and the comedy, the low and the sublime.” “The creative process behind the title was very important” and a key foundation on which to build the film, adds Valchanov, who points out that it is a distortion of the Bulgarian version of the phrase “saving money for a rainy day”, which talks about “saving money for a black day.”
On deceit and retributionOn deceit and retribution, Kristina Grozeva explains: “They live in lies all the time and they pretend that everything is OK, but this way of living has a price, somehow, and they have to pay it.” As her partner-in-crime reveals, the way they balance the diverse set of values from which they operate was inspired by many people in real life. The film, he says, “is about this generation who has made it a part of their life during the communist period and then, after it, in the democratic period.”
Victims of themselves“This system doesn’t allow you to have a dignity,” Grozeva points out, prompting Valchanov to also underline the fact that the couple at the centre of their film “are also victims of themselves.” “They mostly suffer because of their own decisions,” adds Grozeva. “We wanted to dig into the topic of corruption, but not only the corruption in the political or social sense – [we also wanted to talk about] this kind of inner corruption that puts black spots in our souls. Somehow, it felt very important to capture this moment when you corrupt your intimate world: your dreams, your marriage, even your relationship with God, everything.”
No clichés, no superficialityOn the well-roundedness and the many nuances of the characters, the directing duo insists that they “did not want to build clichés, or characters who are superficial. We wanted to build deep human beings with contradictions, and that is why we wanted to create this couple, so that they would be capable of love and tenderness, and at the same time of manipulation and deception.”
A breathless rhythmOn the relentless succession of catastrophic events depicted in the film: “It was very important for us to create this rhythm and build this sense of tension. We wanted the audience to feel their feelings.”
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Danish director Mads Mengel‘s debut feature, The Guest, was more than well received at the Karlovy Vary Film Festival 2026. This sensitive and psychologically nuanced account of an initially jolly family reunion for a newborn baby’s naming ceremony, suddenly tainted by the arrival of an unwanted guest, the mentally unstable, unpredictable mother (a part in which Trine Dyrholm delivers a captivating performance) of the young father (a distraught Simon Bennebjerg with whom the viewer cannot help empathising, as we see him unravel) was awarded the Special Jury Prize, and earned Mengel the Best Director Award. We spoke to the filmmaker – and co-writer of the film with Christian Bengtson, with whom Mengel is already working on a new project –, which says his approach of this family’s conundrum was very much informed by this quote from poet David Whyte: “To forgive is to assume a larger identity than the person who was first hurt.”
On forgiveness and mending old woundsOn going against the grain of what one would expect of a Danish film on a disrupted family reunion turning tense: “I think the film, at its core, is about forgiveness and trying to take the first steps towards being able to mend old wounds. We wanted to give the audience a feeling that it’s never too late to change some dynamics which may seem like they are forever set in stone.”
On mental illness and acceptanceOn mental illness and acceptance: “When you have a loved one who is suffering from mental illness or struggling in any way, there will always be longing in you for it to not be so, and I think accepting the situation – in Karl’s case, accepting that this is his mother, good and bad – is what can open him up to maybe forgiving some of the things that have been hard on him.”
Trine Dyrholm and the tension of an unpredictable motherOn the tension deriving from the ambiguity of the mother’s effervescent behaviour, and on Trine Dyrholm’s turn in this constantly borderline role: “We wanted to convey that experience to the audience as well, because that’s what her kids in the film have grown up with, always not knowing what’s gonna happen next. […] I think Trine captured that tension perfectly. I think she’s the greatest actor we have in Denmark, so we couldn’t believe our luck when she said yes. That was a dream come true for all of us, especially for me.”
Sixteen drafts to find the right balanceOn the film’s nuanced approach and finding that balance in the script: “I think we wrote sixteen drafts of the script. We went back and forth with the actors, each time using the actors’ notes to rewrite. We [also] shot an 18-minute pilot, over two days, to figure out who these characters were and how they talked to each other, and then went back to the writing room. It was very important to us that the viewer would have sympathy for all the characters, in the end, but also that their sympathy would switch sides, maybe from scene to scene [and that they] would understand everyone, in some way. […] We didn’t want a clear hero or a clear villain. Everyone should be to blame a little bit, because I think that is a reflection of real life, especially within the context of a family. There’s a lot of complexities and nuances. […] Nothing in the world is really black-and-white, there is always a bunch of grey nuances and I think you can have two feelings which are polar opposites rising at the same time, and both of them can be true at the same time.”
The post “The Guest”, an interview with director Mads Mengel appeared first on Fred Film Radio.
David Boreanaz is one of the prominent actors participating in the Italian Global Series 2026, in Riccione. Our conversation was recorded to explore his reflections on acting, character development, and his perspective on one of his most iconic roles as Angel in “Buffy The Vampire Slayer“ during the festival’s second edition.
The importance of continuous learning in actingBoreanaz emphasizes the significance of ongoing education and self-reflection in his career. He reflects on the past year, noting that it’s essential to be patient with oneself and understand that the work invested today will bear fruit over time. His approach involves constantly nurturing his craft, seeking growth through repetition and new avenues, which prevent his from feeling trapped in a single role or character.
Seizing opportunities and the evolution of long-term charactersDuring the interview, Boreanaz discusses the importance of seizing opportunities, emphasizing that preparation is crucial. He explains that readiness arises from diligent work, allowing actors to take advantage of chances when they arise. He also touches on his portrayal of Angel in “Buffy the Vampire Slayer“, indicating that playing a long-term character isn’t a trap but a chance to explore new facets and grow. About the worldwide success of the TV series, he says: “All characters were a sort of superheroes for the audience”.
The allure of storytelling and influences from renowned filmmakersBoreanaz expresses admiration for filmmakers like Chloe Zhao, noting her understanding of storytelling through renewal and rebirth, resonating with Joseph Campbell’s ideas. He also discusses his admiration for cinematic imagery, citing his experience watching “Hamnet“ and being captivated by the symbolism intertwined within the film’s scenes. He appreciates storytelling that dives into deep, metaphysical themes, such as transformation and connection to Mother Earth, reflecting the festival’s focus on meaningful and innovative narratives.
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Lithuanian filmmaker Arnas Balčiūnas arrives at the Karlovy Vary International Film Festival 2026 with Past the Hill of Napoleon’s Hat, one of the ten short films showcased in Future Frames, the European Film Promotion initiative that introduces Europe’s most promising young directors to the international film industry through screenings, masterclasses and networking opportunities. Rather than offering a conventional family drama, Balčiūnas builds an intimate and restrained portrait of emotional distance, where silence speaks louder than confrontation.
Set on a single early spring day, the short film follows Martynas as he picks up his father from a psychiatric hospital and drives him to visit his grandparents in rural Lithuania. Along the journey, familiar landscapes awaken memories that neither father nor son can fully articulate, exposing wounds that have remained buried across generations.
A story rooted in personal experienceThe emotional core of the film originated in a conversation with the director’s own father, who once reflected on his difficult relationship with his abusive parent and the discomfort of seeing his father’s physical features reflected in himself. That confession became the foundation for a story about inherited trauma and the invisible threads connecting different generations. “There’s a lineage here of what I would see as generational trauma.” Rather than recreating his own family’s history, Balčiūnas transformed those emotions into fiction, exploring how unresolved pain can quietly shape relationships long after the original events have passed.
Choosing empathy over judgmentOne of the film’s most striking qualities is its refusal to divide its characters into victims and villains. The father is fragile, emotionally distant and difficult to understand, yet the film consistently resists judging him. For Balčiūnas, the real tragedy lies elsewhere. “The saddest thing is the inability to talk about these things.” Instead of explaining every detail of the family’s past, he focuses on the present moment, observing people who continue trying, however imperfectly, to repair broken relationships. That choice allows empathy to emerge naturally, without relying on melodrama or easy resolutions.
When the landscape carries historyThe Lithuanian countryside becomes an extension of the characters’ emotional state. The familiar post-Soviet houses and quiet rural spaces are not simply realistic settings, but subtle reminders that personal trauma is often inseparable from broader historical experiences. Balčiūnas explains that the emotional patterns portrayed in the film can be found in many Lithuanian families and across the post-Soviet region, where political history has left deep marks on private lives. Rather than making this connection explicit, he allows the environment itself to suggest the weight of a collective past.
Finding a voice in contemporary European cinemaBeing part of Future Frames has also allowed the young director to encounter fellow emerging filmmakers at a crucial stage of their careers. He describes the programme less as an immediate professional breakthrough than as the beginning of relationships that may shape future collaborations while offering a broader perspective beyond the national context of film school. Reflecting on today’s film landscape, Balčiūnas acknowledges that young directors face increasing pressure to define a recognisable artistic identity early in their careers. With an overwhelming number of films constantly available, he believes the greatest challenge is not finding a visual style but discovering themes that genuinely belong to one’s own life and cultural background, rather than following existing trends.
Why short films remain the perfect formAlthough he recently premiered another short film at the Cannes Film Festival and is already developing his next project, Balčiūnas continues to embrace the short format as the space where his storytelling feels most natural. “I also like the impressionistic nature of short films. It’s something that suits my storytelling style.” He sees short films as works that can be almost entirely imagined before production begins, allowing filmmakers to refine every choice while preserving ambiguity. Rather than offering definitive answers, they invite audiences to continue thinking after the final frame, completing the emotional journey themselves.
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For Hae-Sup Sin, Half-moon is not simply a story about reunion. It is about everything that remains unresolved once that reunion finally happens. Presented at the Karlovy Vary International Film Festival 2026 within Future Frames, the European Film Promotion initiative showcasing emerging European filmmakers, the short film follows a Swiss adoptive mother and her son as they travel to South Korea to meet his biological mother for the first time. Set almost entirely within a traditional Korean restaurant, Half-moon explores identity, belonging, and motherhood through restrained performances, quiet observation, and the emotions that emerge when words are no longer enough.
From a documentary to an original storyThe film was inspired by a brief Swiss television documentary about a young Korean girl adopted in Switzerland whose biological mother unexpectedly managed to find her. What fascinated Sin was not the reunion itself, but the adoptive mother’s emotional position. “Usually adoptees search for their biological parents,” he explains. “In this case, the biological mother found the child. I became curious about how the Swiss mother would feel, understanding that another woman could also say, ‘She is my daughter.'” Rather than adapting that true story, Sin used it as the starting point for an original screenplay exploring the emotional space shared by two women connected by the same child.
One room, two mothersAlmost the entire film unfolds inside a traditional Korean restaurant, a deliberate choice that carries both dramatic and symbolic meaning. In Korean culture, these restaurants are often where couples introduce their parents before marriage. Sin found it an appropriate setting for two mothers meeting for the first time instead. “I thought it was quite ironic,” he says. “The two mothers face each other there for the first time.” The confined setting also reflects his interest in chamber pieces, in which emotional tension builds through small gestures rather than dramatic action. Food itself becomes another language. “Eating behaviour tells you so much about people and culture,” he explains. “That was another reason I chose the restaurant.”
When silence becomes dialogueLanguage barriers shape every interaction in Half-moon. Characters speak different languages, rely on translation and frequently struggle to express what they truly feel. Rather than treating this as an obstacle, Sin embraced silence as one of the film’s central narrative tools. “Silence is one of the most universal languages,” he says. Throughout the film, glances, pauses, and body language communicate emotions that dialogue cannot fully translate. The director also credits his cast for bringing those moments to life. “I relied on the actresses’ instincts,” he explains. “The screenplay was there, but how we interpreted it remained completely open.”
Learning from the other side of the cameraSin also appears in Half-moon as Joel, marking his first experience as an actor. The decision presented unexpected challenges. Unable to judge his own performance objectively, he relied heavily on his cinematographer and producer, both of whom watched the monitor throughout filming and offered constant feedback. The experience has already influenced the way he approaches directing. “Before, I was very controlling,” he admits. “Being in front of the camera made me realise that sometimes it’s better to give simple directions and trust what happens inside the actors.” It is a lesson he intends to carry into future projects.
The meaning behind the titleThe original Korean title, Ban Dal, comes from a children’s song heard after the end credits, where a half moon becomes a boat travelling westward. Only later did Sin realise how deeply the title reflected the film itself. For him, the half moon represents Joel’s incomplete search for identity, as well as the acceptance that motherhood does not have to belong to one person alone.
Looking aheadAfter Half-moon, Hae-Sup Sin is developing his first feature film, Some Korean Summer, a romance between a young Swiss woman and a Korean man set in the rural South Korean countryside. The project is currently in development with a Swiss production company. Far from feeling intimidated by the transition to feature filmmaking, the director says his greatest concern is securing financing. “I’m more excited than scared,” he says. “I love the process of making films, working with actors and seeing something you’ve written come to life.”
His experience at Future Frames has only reinforced that enthusiasm. Beyond presenting his work to international audiences, the programme allowed him to build lasting relationships with fellow emerging filmmakers from across Europe. “We immediately became really good friends,” he says. “Seeing so many different perspectives was inspiring, but leaving with new friends is probably what I’ll remember most.”
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Selected for Future Frames at the Karlovy Vary International Film Festival 2026, Júlia Coldwell Serra brings Nobody Barks, a darkly comic short that explores guilt, family ties and emotional avoidance through an increasingly absurd premise. Presented as her final master’s project, the film follows Candela, a middle-aged woman who accidentally runs over her young nephew’s dog. Unable to tell him the truth, she invents an extraordinary story: the dog has left on a pilgrimage to a sacred tree, and together they set out to find it.
The premise is both humorous and unsettling, allowing the director to examine why people lie, especially when deception is motivated by love rather than selfishness. “There is something very human about lying because it is so closely connected to guilt,” Coldwell Serra explains. “We usually lie because we have good intentions and we don’t want other people to get hurt.” As Candela’s invention grows beyond her control, the film gradually shifts between comedy, melancholy and emotional tension, refusing to settle into a single emotional register.
Finding freedom through absurdityRather than pursuing strict realism, Coldwell Serra embraces absurdity to reach emotional truth. For her, humour is not simply entertainment but a narrative tool that expands the possibilities of storytelling. A non-naturalistic approach allows her to establish the film’s own internal rules, creating space to address grief, guilt and responsibility without becoming didactic. “I wanted the tone to oscillate,” she says. “You don’t really know whether you should laugh, worry or cry, because life is like that. Tragedies and beautiful things don’t arrive in a convenient order.” The comedy of Nobody Barks rarely comes from punchlines. Instead, it emerges from discomfort, awkwardness and the increasingly impossible situation Candela creates for herself. Coldwell Serra also admits that humour reflects her own way of dealing with difficult moments. “Humour has always been a coping mechanism for me,” she says. “It felt like the most honest way to tell this story.”
Rooted in a familiar landscapeThe filmmaker deliberately chose to set the story in the region where she grew up. Beginning with a place she knew intimately gave her a solid emotional foundation before she allowed herself to move into more imaginative territory. She believes that authenticity comes from embracing the local rather than trying to make stories universally recognisable from the outset. The international journey of Nobody Barks has only reinforced that conviction. “The more local and the more specific you become,” she reflects, “the more universal the film can be.” Instead of smoothing away cultural details, she trusted that honesty would resonate beyond geographical boundaries.
Writing Candela for Laia CabreraThe role of Candela was written specifically for Laia Cabrera, whom Coldwell Serra had met while working on another production. Even before the screenplay was completed, she knew she wanted the actress to embody the character. What fascinated her was not only Cabrera’s talent, but the quiet mystery of her screen presence. “There is something about her face that makes you start asking questions beyond what is happening in the film,” the director explains. That ambiguity proved essential for a protagonist whose motivations remain deliberately difficult to define. Candela’s guilt, tenderness and desperation coexist throughout the film without ever being fully explained, giving the audience space to interpret her actions.
Trusting instinct above everythingLooking back on the journey of Nobody Barks, Coldwell Serra admits she never expected the short to travel so widely after waiting nearly a year for its first premiere. Its success ultimately confirmed something she had suspected while making it: originality comes from trusting instinct rather than trying to anticipate expectations. Many readers of the screenplay struggled to imagine the unusual tone she had in mind, but she chose to follow her own vision rather than make it more conventional. “I learned not to be afraid of taking risks,” she says. “It was the most authentic film I could make.” That lesson is one she hopes to carry into her future work.
Growing through Future FramesFor Coldwell Serra, being selected for Future Frames has been both an educational and deeply personal experience. Sharing the programme with nine emerging filmmakers from across Europe, attending masterclasses and exchanging ideas about filmmaking has strengthened her optimism about the future of European cinema.”We really bonded as a group,” she says. “It’s inspiring to meet so many people who are trying to make films with the same passion. It gives me hope for the future of cinema.”
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Selected for Future Frames at the Karlovy Vary International Film Festival 2026, André Vaara presents Sister of Mine, a subtle and emotionally restrained short film that explores identity through the eyes of a ten-year-old boy. Rather than engaging in explicit dialogue about gender and family dynamics, the film relies on gestures, sound, and physical sensations to immerse the audience in the child’s emotional world.
“I wanted to ask what happens when your sibling has access to expressions that you don’t,” Vaara explains. “Is there room to explore another identity as a child?”The story follows a young boy who admires his older sister and struggles with the expectations surrounding his own appearance when the siblings visit a barber. What seems like an ordinary family situation gradually reveals deeper questions about identity, comparison and belonging.
Siblings as MirrorsThe director traces the film’s origins to his fascination with sibling relationships. According to Vaara, brothers and sisters constantly compare themselves with one another, whether over attention, privileges or affection. Gender became the natural extension of that dynamic because, unlike other childhood inequalities, it cannot simply be negotiated. A single visual image became the emotional seed of the project: one sibling secretly cutting the other’s hair during the night. Rather than explaining the gesture, Vaara chose to investigate the emotions that could lead to such an intimate act.
Letting Sound Tell the StoryDialogue is deliberately sparse throughout Sister of Mine. For Vaara, silence reflects the family’s inability to communicate openly, while sound design becomes the protagonist’s inner voice. “I wanted the audience to stay with the boy all the time,” he says. “The sound design was meant to capture what happens inside him.” Physical sensations also play an essential role. Hair, touch and proximity become narrative tools, allowing viewers to experience the child’s emotions almost viscerally. Vaara believes the short film format offers the ideal space for this kind of sensory storytelling, where atmosphere often speaks louder than plot.
Directing Young PerformersWorking with child actors required extensive preparation before filming. Lars and Alma, who play the siblings, are naturally energetic and outgoing, qualities that contrast with the film’s restrained emotional register. Instead of focusing on dialogue, Vaara developed exercises that encouraged stillness and introspection. Rehearsals often involved quietly acting through scenes accompanied by calm music, helping the performers settle into the family’s emotional rhythm. The process, he says, was ultimately about understanding what each child needed to inhabit the relationship truthfully.
Looking AheadFollowing Sister of Mine, Vaara is developing his first feature film with writer Erika Malmgren and producers Annika Hellström and Erik Andersson. The project centres on two young boys whose intense friendship gradually becomes destructive after adults decide to separate them by sending them to different schools. Moving from short films to features presents new challenges. “A feature needs much more than one feeling,” Vaara reflects. “It’s about structure, momentum, and earning the industry’s trust to make it happen.”
Despite the financial difficulties facing independent filmmaking, he remains committed to telling the stories that matter most to him. His experience at Future Frames has reinforced that conviction. Meeting nine emerging filmmakers from across Europe offered not only insight into different national film industries but also renewed confidence in the value of personal storytelling.”It gave me energy to keep believing in my own voice,” he says.
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At the Future Frames – Generation NEXT of European Cinema 2026, organized by European Film Promotion and the 60th edition of the Karlovy Vary International Film Festival, Croatian director Jozo Schmuch presents Shallow Ground. Shot on 16mm, the film imagines a son who vanished during Croatia’s war of independence returning to his elderly mother three decades later, unaged and unmarked, a reunion whose warmth is shadowed by disbelief. Schmuch’s graduation film, it draws directly on the disappearance of his own uncle.
A closure that never cameSchmuch describes Shallow Ground as “a magical realism drama where there is not a lot of magic, but it’s very present,” built around a grief that was never allowed to resolve. “It’s exploring the theme of when somebody is missing, either in the war or their body was never found, can you ever actually grieve for them?” Asked about reviews describing the film as an honest portrait of grief, Schmuch agreed readily: “It’s a film about grief mostly, but then also it’s a film about love, and about how mothers and sons, in the end, love each other.”
An uncle he never metThe film began, technically, as a graduation project, but its real origin lies closer to home. “My uncle, my mother’s cousin, he went missing during the war. They lived together, he was like a brother to her. He went missing during the fall of Vukovar and his body was never found.” Growing up, Schmuch inherited the loss secondhand. “I spent my childhood hearing about him and missing ever meeting him, having this sort of nostalgic feeling for somebody I never met.” He made the film, he says, for every family living the same unresolved story, in Croatia and elsewhere: “I wanted to make a film for people who haven’t found their loved ones and who are grieving without any concrete proof of their death.
Refusing to take sidesIt mattered to Schmuch that the film resist being pulled into the nationalistic register that often surrounds war stories. “It was extremely important for me not to let this movie take a nationalistic dimension, because often when movies deal with the war, they can be used for nationalistic and right-wing purposes, and this is something that I’m very against.” The idea took shape while he was editing an earlier documentary short, one that takes a critical look at how the war is taught in schools. “When you hear about the war in these big and large numbers, they are just statistics, the weapons of propaganda and of indoctrination. But when you take it to the personal level, to two people that it happened to, it becomes something that’s much larger than that.” His hope for the film has nothing to do with assigning blame: “The most important part to take out of this film is not hatred for the warring sides of this Croatian independence war, Serbians and Croatians, but rather to see that a thing like that should have never happened and it should never happen again, in any part of the world.”
The privilege of European cinemaBefore studying film directing, Schmuch trained in medicine. “Being a doctor is so much more concrete. But I think the arts, they teach us why life is worth living, and they show us the complexity of human emotions, the messy thing about being human.” Asked about the role of European cinema today, he points to a shared culture under pressure from shrinking public funding. “We are constantly bombarded with funding cuts, investing more into defensive budgets, the European Union turning toward defense but defunding creative media. What makes us both Europeans and, say, Germans or Croatians, it’s our culture. It’s the most basic thing about us, and we must fight by every possible means to stop defunding arts.”
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At the Future Frames – Generation NEXT of European Cinema 2026, organized by European Film Promotion and the 60th edition of the Karlovy Vary International Film Festival, Finnish director Helmi Donner presents The Lightning Rod (Matalappa). Her graduation film from film school in Finland, it premiered a year ago in La Cinef, the Cannes Film Festival’s student film section, an experience she still describes as both thrilling and frightening, not least because the film is deeply personal to her.
A house of silenceDonner describes The Lightning Rod as “a poetic horror film,” not built on jump scares or splatter but on the story of a young woman fleeing a toxic relationship, who takes shelter in her grandmother’s house, only to find the older woman unable to meet her in this situation. “They have this tension between them because I think they both know what each other are going through, or what they experienced with this domestic violence, but they are not able to talk about it. I really wanted to capture the silence and how to maybe break the silence in some way.”
Horror as a way to feel it in the bodyGenre, for Donner, was never a distancing device but a precision tool. “I was really interested to play with the genre elements, but to try to make it as precise the experience of the manipulation and this pushing and pulling between people and the pressure. I’m really interested in finding some kind of cinematic language that would be felt in the body, that is not maybe so explanatory.” Confined to a single house over one night, the film leans on a familiar horror device, the house itself seeming to change, to signal that something is shifting beneath the surface: “It maybe comes with some kind of elevation or stylization… so that you can see that something special is happening.”
Sound as a second scriptMusic and sound design carry much of the film’s tension. Donner worked closely with her sound designer and composer, Peterson, to fold the score directly into the sound design. “We had this idea of meshing these things together so that the score would be deep in the sound design.
The privilege of European cinemaAsked about the role of European cinema today, Donner points to the same sense of belonging she found among this year’s Future Frames group. “I love being a European director, or I would love to be one, because I think there is something really special happening in Europe. I think there is a possibility for a real diversity of voices and styles and experiments. I felt like home in this group of directors.” At a moment when other film industries are losing their freedom, she sees a responsibility in that community: “I think it’s so important to try to resist the very forces that are on the move. I think films are so powerful in that.”
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At the Future Frames – Generation NEXT of European Cinema 2026, organized by European Film Promotion and the 60th edition of the Karlovy Vary International Film Festival, Ollie Launspach presents Kiss Kiss Bang Bang, his graduation film from the Netherlands Film Academy, previously selected for the shorts competition at IDFA, the International Documentary Film Festival Amsterdam. What began as a portrait of his partner Sterre and the effect of his gender transition on her became, over the course of making the film, something closer to a self-portrait.
Starting a conversation with a cameraThe film grew out of a conversation Launspach and Sterre had never quite managed to have. “Sterre and I hadn’t really talked about the influence of my transition on her for over three years, and for some reason we weren’t able to have that conversation. So I decided to use a camera as a way to start that conversation.” It worked, if in an unconventional way: “When you put a camera in front of your girlfriend, she will talk.” They started recording before either of them thought it would become a film.
The camera turns aroundLaunspach knew, in the back of his mind, that documentaries about the people closest to a filmmaker tend to end up being about the filmmaker too. “I knew the kind of cliché of a filmmaker making something personal and eventually, around the midpoint, needing to turn the camera around, because there’s always something inside of the filmmaker that is interesting and kind of turns the story around.” Still, the shift caught him off guard. After many conversations with Sterre that seemed to go nowhere, he feared the film was failing, until he reviewed the footage. “I watched all the interview material and I came to understand that something was happening with me during these conversations, and that was something I needed to explore more.”
A personal story, universally feltLaunspach admits he resisted the idea of making a film about himself. “I was at first very opposed to the idea of making something about myself. It can be very annoying to watch a filmmaker talk about himself a lot. So I was scared to be an annoying filmmaker.” What he found, instead, was something more widely shared than he expected: “I heard myself projecting a lot of negative thoughts about myself onto Sterre.” A feeling, he says, that reaches far beyond his own experience: “Having those negative thoughts about yourself is something not only trans people have, that’s something many, many people have, but it’s not much talked about.”
The privilege of European cinemaAsked what it means to him to be a European director, Launspach, still getting used to the title itself, points to the room European cinema leaves for personal, uncommercial work. “I feel like there’s a lot of space to experiment and make really author-driven films, which I think is the most important thing. I would love to make films that aren’t made for commercial purposes but are really truly about real, authentic people and stories, and I feel like Europe is the place to do that.”
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The film “Breaking Walls” offers a poignant portrayal of fatherhood amid political and cultural shifts in Spain and Europe in the late 1980s. Set in Bilbao and Berlin, the movie traces the journey of a group of families navigating unemployment and social transformation, culminating in Berlin’s historic wall fall.
Symbolism and Historical ContextThe English title, “Breaking Walls“, encapsulates the film’s core metaphor — the walls between generations and nations. Director Borja Cobeaga explains that the narrative parallels the physical division of Berlin with the emotional and cultural barriers faced by fathers and their daughters as they embark on a road trip to Berlin for a gymnastics competition. The story is rooted in the socio-economic decline of Bilbao’s industrial sector, where factory closures in the ‘80s altered traditional family roles. As fathers confront unemployment, and in some cases divorce or middle-age crises, the film captures their struggle to adapt to new realities, including the rise of women as primary breadwinners.
A Journey of Reinvented Fatherhood“Breaking Walls” delves into the redefinition of masculinity and fatherhood during a period of societal upheaval. It portrays a metaphorical journey that reflects the broader political transition from Spain’s post-Franco era to a more integrated Europe, only a few years after Spain joined the EU. The film combines humour and sentimentality, avoiding heavy jokes in favour of a soft, emotional comedy that emphasises vulnerability and change.
European Identity and Personal NarrativesWhile set against a European backdrop, the story subtly critiques the nascent sense of European unity, highlighting Spain’s slow integration into the continent. The director comments on his personal and collective disillusionment with nationalism, positioning Europe as both a historical and contemporary space of transition.
Outstanding Performances and Production ChallengesThe cast features a mix of seasoned and emerging actors, with real-life fathers playing their on-screen counterparts to bring authenticity to the portrayal of familial bonds. Shooting involved managing a diverse ensemble, including young children, which presented unique logistical challenges but enriched the film’s naturalistic tone.
“Breaking Walls“opened at the 12th Edition of the Edinburgh Spanish Film Festival, promising viewers a heartfelt reflection on change, identity, and the enduring spirit of family.
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With his debut feature, “The president’s Cake“, Iraqi writer/director Hasan Hadi won the Camera d’Or and the Director’s fortnight’s audience award in Cannes.
Now his film is traveling around the world, landing the Zurich film festival’s program before heading south, to the Alice nella città’s competition in Rome, Italy.
The film is a fable like realistic tale about a nine year old girl journey to gather ingredients for the mandatory cake to celebrate President Saddam Hussein’s birthday during the long UN sanctions period of his regime in the early 1990s.
A Personal and Political Story of Childhood Under Saddam Hussein’s regimeThe President’s Cake blends realism with fable, crafted from the filmmaker’s personal childhood experiences during Saddam Hussein’s regime. Set in a majestic marshland, the film recounts the paradox of having to craft a birthday cake in a period of estreme poverty and government restrictions that could turn ordinary desires into risky acts of defiance.
Balancing Dark Humor and Magical RealismBefore his film’s premiere at the Zurich Film Festival, the director invited the audience to feel free to laugh and don’t be shy to be entertained as the film, intentionally adopts a tone of dark comedy and magical realism, inspired by Italian neorealism classics like “Bicycle Thieves“. This approach allows audiences to engage with a serious story through accessible storytelling, emphasizing the universality of childhood innocence amidst political turmoil. The film’s visual language, particularly the majestic marsh landscapes, contributes to this surreal yet authentic ambiance.
Authentic Performances with Non-ActorsAnybody who has been in the film business long enough knows the rules, when directing a film, the most difficult thing is to work with children and animals. Considering that little Lamia is carrying her rooster friend Hindi all the time with her, along her journey, Hasan Hadi chose to face adversities with his debut feature. “I had a mentor who said, there are five forbiddens, especially in your 1st feature: working with non-actors, children, animals, crowds and on water. I have all of them in this feature.” confirms the direct.
Working with non-professional actors and children posed significant challenges, but ultimately enriched the film’s authenticity. The cast’s natural performances, achieved through workshops focused on life experiences rather than acting techniques, brought genuine depth to the characters. The director emphasized flexibility and understanding, creating a compelling portrayal of resilience and human dignity.
Global Resonance and Future ProspectsHaving won the Camera d’Or at Cannes and received international recognition, “The President’s Cake” continues its festival journey. The film’s universal themes like poverty, dignity, childhood love, resonate beyond Iraq’s borders. With producers like Chris Columbus and Marielle Heller supporting the project, the film underscores the rising importance of independent cinema in addressing global issues through compelling storytelling.
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In this episode, we talk with Maxime Lechaud, director of the Festival International du Film Grolandais de Toulouse, known as FIFIGROT, which recently celebrated its 14th edition as a vibrant hub for provocative and socially conscious cinema. Originating in northern France, the festival relocated to Toulouse, emphasizing its commitment to showcasing both contemporary and overlooked older films.
Diverse Film Selection and ThemesThe FIFIGROT programme follows a dual approach, premiering recent works that often encounter distribution hurdles in France while also revisiting historical and controversial films from past decades. This blend highlights the festival’s dedication to fostering dialogue through cinema, with a particular focus on artists and themes that challenge societal norms. A notable highlight was the screening of films by legendary directors such as Peter Watkins, Julio Questi, and Bigas Luna, many of which are rare or rarely available in standard cinema settings.
Engaging Cinema Beyond the ScreenBeyond film screenings, Fifigrot is renowned for its dynamic festival village, creating an immersive cultural experience that combines literature, graphic arts, and live performances. This central hub fosters community engagement, allowing attendees to connect through conversations, exhibitions, and music, embodying the festival’s spirit of creative exchange.
Reflecting on this year’s programme, Lachaud notes an undercurrent of melancholy, shaped by global events. Films like Nadav Lapid’s “Yes” uniquely intertwine humor and tragedy, offering audiences profound reflections on current realities.
The festival’s impact extends beyond Toulouse, reintroducing forgotten films to the wider French market, supporting new filmmakers, and cultivating a passionate cinephile community. As it continues to evolve, the festival remains a vital platform for innovative, socially aware cinema celebrated by both veterans and newcomers alike.
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“Whisperings of the Moon”: A Dance of Passion and Constraint with Lai YuqingIn “Whisperings of the Moon“, director Lai Yuqing crafts a compelling narrative centered on a queer romance set against the vibrant yet oppressive backdrop of Phnom Penh. During the 2025 Busan International Film Festival, we spoke with Lai Yuqing about her inspiration, visual approach, and the journey of expanding her short film into a feature-length production.
Finding Inspiration in Phnom Penh’s ContrastsLai Yuqing revealed that her first visit to Phnom Penh made a deep impression on her. “When I first visited Phnom Penh, I experienced conflicting feelings because of the mixture of cultures—French, Chinese, Khmer, and English. The city gave me a sense of tragedy, which inspired me to set the story here.”
The blend of diverse cultures and the city’s ambitions for development, contrasted with traditional elements, sparked a narrative rich in passion and potential conflict. You can learn more about Phnom Penh’s cultural landscape here.
Directing Cinematography: An Intuitive ApproachThe film’s visual style, characterized by rhythm and fluidity akin to dance, reflects Lai Yuqing’s instinctive directing. “I create storyboards and plan lighting before shooting, but during filming, I rely heavily on the actors’ performances.”
She emphasizes the importance of adapting to actors’ spontaneity and following her intuition to capture authentic moments. Lai Yuqing immerses herself in the characters’ emotions to craft a deeply emotive visual experience.
The Symbiotic Relationship Between Filmmaker, Actor, and MusicianLai Yuqing’s diverse background as a filmmaker, actor, and musician profoundly shapes her directing style. “That’s why my actresses trust me—they know I understand acting and how to unlock their emotional depth.”
This multifaceted experience allows her to connect authentically with performers, fostering trust and enabling genuine portrayals. She adds that the story’s emotional core involved the actress deeply, allowing for empathy and connection.
Expanding “Love is a Book”: From Fragment to Feature“Love is a Book” served as the foundation for “Whisperings of the Moon”. Lai Yuqing explained her creative process: “To develop it into a feature, I wanted to expand the story, deepen the background, and develop the characters further.”
While maintaining a non-linear narrative style, her goal was to craft a broader, more emotionally resonant experience—blending flashbacks and present-day scenes to enrich the storytelling.
A Global Perspective: Embracing Cultural DiversityHaving studied and worked across multiple countries, Lai Yuqing brings a global perspective to her storytelling. “Living in different cities taught me that different cultures and perspectives need to be acknowledged and respected.”
Her empathy enables her to portray diverse cultures and experiences authentically, emphasizing that emotions are universal and transcend cultural boundaries.
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Exploring the Teochew Diaspora: An Interview with Jianhang Chen and Lin Ziyang on “The River That Holds Our Hands”At the 30th Busan International Film Festival, I had the opportunity to speak with Jianhang Chen, the film’s director, and Lin Ziyang, the producer, about their film “The River That Holds Our Hands.” This captivating documentary-fiction hybrid beautifully explores the experiences of the Teochew diaspora, blending cultural storytelling with sensory artistry. In this interview, they discuss their creative process, the importance of cultural identity, and how sensory elements play a vital role in storytelling.
Documentary Roots and the Hybrid Filmmaking ApproachJianhang Chen shared that his journey to create this film began with a documentary perspective, having filmed over five years in this format. This experience naturally evolved into a hybrid filmmaking approach. “I love how people talk about their stories in their homes,” Chen explained. “Documentary allows us to capture these authentic moments and bring them onto the big screen for the audience.” He emphasized the significance of capturing natural interactions, citing a scene shot on the streets of Saigon where a street vendor was unaware of being filmed, resulting in a genuine, unscripted shot.
The Power of Image and Sound in StorytellingBoth Chen and Ziyang highlight the importance of sensory elements—especially sound and visual imagery—in conveying memories and dreams. The Eye Catcher Global jury praised the film for its delicate attention to sound design. Chen elaborated that sound was deliberately used to evoke a sense of nostalgia and historical rhythm. “We aimed to blend sounds that ancestors might have heard—birds, water, and everyday life—mixed with modern elements to create an immersive, dreamlike atmosphere.” This acoustic layering enhances the emotional resonance of the film.
Touch as a Connection to the PastThe theme of touch is central to the film and its title, symbolizing a bridge between past and present. Chen described how tactile experiences, such as the sound of touching an old photograph, evoke memories and connect the characters to their history. An example is the scene where the main character touches an old lady’s hand as she sleeps; this moment triggers a dream of her mother and a subsequent scene in Vietnam, forging a deep link between different generations and histories. Lin Ziyang also emphasized the significance of these tactile, sensory connections in illustrating personal history.
Support and the Creative JourneyBoth filmmakers expressed gratitude for support from organizations like the Maritime Guangdong Program and the Asian Cinema Fund (ACF). Chen explained that the Maritime Guangdong funding was crucial during the early stages when the project was just a short film. “Over these two and a half years, we received invaluable support from multiple organizations, which kept us motivated and helped shape the final film.” The ACF played an essential role in the later stages of production.
Revisiting the Teochew DiasporaWhen asked about the central themes in exploring the Teochew diaspora, Chen emphasized identity and the desire to share these stories globally. “I believe the Teochew community has many rich stories to tell. We’re proud of our culture and heritage, and I wanted to share that pride with the world—especially in Asia.” He aims to use film as a universal language to connect the ancient stories of the Teochew people with a broader, international audience.
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Claudia Cardinale, one of the most beloved and influential figures in Italian and European cinema, has died at 87 in Nemours, France. The news was confirmed to AFP by her agent Laurent Savry. With her passing, world cinema loses a luminous star, admired for her beauty, talent and independence across six decades of work.
From Tunisian roots to Venice discoveryBorn in Tunis in 1938 to Sicilian parents, Cardinale never aspired to become an actress. Her destiny changed in 1957, when she won the contest “The Most Beautiful Italian Girl in Tunisia” and was invited to the Venice Film Festival. Soon after, producer Franco Cristaldi signed her, launching a career that quickly reached international acclaim.
Her early roles included Mario Monicelli’s Big Deal on Madonna Street (1958), Pietro Germi’s The Facts of Murder (1959), Luchino Visconti’s Rocco and His Brothers (1960), and Valerio Zurlini’s Girl with a Suitcase (1961), one of her most poignant performances.
The 1960s: Fellini, Visconti, LeoneThe 1960s were her golden decade. In 1963, Cardinale shot Federico Fellini’s 8½, playing Marcello Mastroianni’s muse, and Luchino Visconti’s The Leopard, opposite Burt Lancaster and Alain Delon.
As she later wrote in her autobiography Mes Étoiles: “Visconti taught me to cultivate mystery, without which there can be no true beauty.”
She won the Silver Ribbon for Bebo’s Girl (1964) by Luigi Comencini and starred in Mauro Bolognini’s Senilità (1962). But it was Sergio Leone’s Once Upon a Time in the West (1968) that immortalized her as Jill McBain, a woman who stands strong in a male-dominated universe.
Hollywood and beyondCardinale also made her mark in Hollywood with Blake Edwards’s The Pink Panther (1963), and worked alongside Charles Bronson, Henry Fonda, and David Niven.
In the 1970s she starred in Franco Zeffirelli’s Jesus of Nazareth (1977), Alberto Sordi’s comedy A Girl in Australia (1971), and Damiano Damiani’s mafia drama The Day of the Owl (1968). In France, she shared the screen with Brigitte Bardot in Christian-Jaque’s Les Pétroleuses (1971).
Her career revived in the 1980s with Werner Herzog ’s Fitzcarraldo (1982), followed by collaborations with Marco Bellocchio, Liliana Cavani, and her partner Pasquale Squitieri, who directed her in Claretta (1984).
A free spirit on and off screenCardinale was more than an actress: she was a woman of resilience and independence. “I was never a submissive woman. I always chose for myself, even when it didn’t seem so,” she once declared.
Since 2000 she had been a UNESCO Goodwill Ambassador, dedicated to women’s rights and cultural promotion. For her, cinema was not just art, but also a tool for freedom.
A timeless legacyIn 2002 she received the Berlinale’s Golden Bear for Lifetime Achievement, and in 2023 MoMA in New York honored her with a 23-film retrospective. Reflecting on her career, she said: “I’ve lived more than 150 lives – prostitute, saint, romantic, every kind of woman – and that is marvellous.”
With her passing, the world loses one of its greatest stars. But Claudia Cardinale’s husky voice, proud gaze, and unforgettable performances will keep shining on screen, forever Italy’s “dream girl.”
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“Honey Don’t”, the second chapter of a B-movie lesbian trilogy directed by Ethan Coen (without his brother Joel) and co-written with the screenwriter and the director’s wife, Tricia Cooke, is a captivating and hilarious homage to 1940s Dashiell Hammett–style detective stories, with Margaret Qualley in the role of an anti–femme fatale.
Coming to Italian movie theaters with Universal Pictures starting September 18th, the film premiered, out of competition, at the 78th Cannes Film Festival.
Blending a classic noir with the lesbian pulp novelEthan Coen and Tricia Cooke’s second collaboration on “Honey Don’t“, after “Drive Away Dolls“, blends a private-eye story with a murder mystery wrapped in seduction, lies, and stylized action. Drawing inspiration from classic noir films, “Honey Don’t” merges the hard-boiled storytelling of Dashiell Hammett, Raymond Chandler, and James M. Cain with the grit of lesbian pulp novels.
“Honey Don’t” reimagines the classic noir detective story by centering a female lead who is a lesbian private investigator. During the interview set during Cannes Film Festival, the filmmakers declared that they aimed to play with the butch-femme dynamic by switching them so to avoid the usual femme fatale trope. The result is a story that challenges gender norms and genre conventions and is part of a broader effort to craft honest, genre-based movies with a fresh perspective on sexual identity and character dynamics.
Working togetherHow do you blend your voices together? we asked the duo in order to understand more about their collaboration on the film’s development process. Cooke and Coen admit that they rely on their ongoing dialogue, blending ideas, and shaping characters that feel authentic yet exaggerated enough to serve the satire. The characters, especially the lesbian protagonists, played by Margaret Qualley and Aubrey Plaza, were designed to explore complex themes such as trauma and identity. The filmmakers noted that their characters act as twin sisters, one representing the “good” and the other the “evil”, highlighting how trauma influences behavior and self-perception.
When satire ends and reality beginIn “Honey Don’t“, Ethan Coen and Tricia Cooke introduce us to characters that feel as extreme as they feel real. When does satire end and reality begin? “These characters are kind of outrageous – confirms Coen – but you look at reality and and they’re not so outrageous anymore, certainly these days in our country, reality is odder than fiction“.
Coen and Cooke assure that their storytelling seeks to push the limits while being careful not to lose connection to real-life experiences.
The Third chapterFollowing “Honey Don’t” and “Drive Away Dolls” Ethan Coen and Tricia Cooke aim to continue exploring lesbian-themed genre films with the third chapter. Their next project, Go Beavers promises to further innovate within the genre, blending traditional storytelling with daring, fresh perspectives on sexuality and identity.
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The entertainment world mourns the loss of Robert Redford, the iconic actor, acclaimed director, and passionate environmental activist, who died early Tuesday morning at his home in Utah at the age of 89. His death marks the end of an era for Hollywood and independent cinema, as Redford’s influence extended far beyond the silver screen to reshape how America tells its stories.
A Career That Defined American CinemaRobert Redford‘s career spanned over five decades, during which he became one of Hollywood’s most bankable stars while maintaining an unwavering commitment to meaningful storytelling. Unlike many of his contemporaries who chased commercial success, Redford consistently chose projects that carried cultural weight, making serious topics accessible to mainstream audiences through his immense star power.
His breakthrough role came in 1969 with “Butch Cassidy and the Sundance Kid,” where his chemistry with Paul Newman created one of cinema’s most beloved partnerships. The duo reunited for “The Sting” (1973), which earned Redford his only Oscar nomination as an actor. These films, along with politically charged thrillers like “All the President’s Men” (1976) and “Three Days of the Condor” (1975), established him as an actor capable of combining entertainment with substance.
The Director’s VisionRedford’s transition to directing in his 40s proved equally successful. His directorial debut, “Ordinary People” (1980), won him an Academy Award and demonstrated his ability to handle complex emotional narratives. The film’s exploration of an upper-middle-class family’s disintegration after tragedy showcased Redford’s preference for intimate, character-driven stories over Hollywood spectacle.
Despite the commercial failure of “The Milagro Beanfield War” (1988), Redford remained committed to unconventional material. His later directorial efforts, including “A River Runs Through It” (1992) and “Quiz Show” (1994), further cemented his reputation as a filmmaker unafraid to tackle challenging subjects. “Quiz Show” received four Oscar nominations, including Best Picture and Best Director.
The Sundance RevolutionPerhaps Redford’s most enduring contribution to cinema was the creation of the Sundance ecosystem. In 1981, he founded the Sundance Institute, dedicated to nurturing emerging filmmakers outside the Hollywood system. His transformation of a struggling Utah film festival into the globally recognized Sundance Film Festival created a platform that launched countless careers and changed the landscape of American independent cinema.
The festival became synonymous with discovering fresh talent, with directors like Steven Soderbergh, Quentin Tarantino, Darren Aronofsky, and Chloé Zhao all benefiting from Sundance’s support early in their careers. From a few hundred attendees in the 1980s to over 85,000 in recent years, Sundance grew into the world’s premier showcase for independent films and documentaries, particularly those addressing progressive social issues.
Environmental Activism and Personal PrinciplesBeyond his cinematic achievements, Redford was a pioneering environmental activist who helped establish the archetype of the celebrity environmentalist. His activism wasn’t merely symbolic – he successfully campaigned against destructive development projects in Utah, including a six-lane highway proposal in 1970 and a coal-fired power plant in 1975. These victories often came at personal cost, as evidenced by his being hanged in effigy by opponents who criticized his wealth and celebrity status.
As a trustee of the Natural Resources Defense Council for three decades, Redford used his platform to advocate for environmental protection long before it became fashionable in Hollywood. His approach to activism was pragmatic rather than political; after a brief stint as a Provo Canyon sewer district commissioner in the late 1970s, he became convinced that independent activism and storytelling were more effective tools for change than traditional politics.
A Complex LegacyRobert Redford‘s career wasn’t without its challenges. Critics often dismissed his leading man looks, particularly after his widely panned performance in “The Great Gatsby” (1974). Financial pressures in his later years led to the sale of various Sundance ventures, and he sometimes clashed with distributors over marketing strategies for his more artistic projects.
Yet these struggles only highlighted Redford’s unwavering commitment to his principles. Even when facing criticism or financial difficulties, he refused to compromise his vision or abandon his environmental causes. His final acting roles in “Our Souls at Night” (2017) and “The Old Man and the Gun” (2018) demonstrated his continued dedication to meaningful storytelling, even as physical limitations forced his retirement from acting.
An Enduring ImpactRobert Redford’s death represents the loss of a true original – an artist who successfully balanced commercial appeal with artistic integrity, celebrity status with environmental responsibility, and Hollywood glamour with authentic storytelling. His influence on American cinema extends far beyond his own performances and films to encompass an entire generation of independent filmmakers who found their voice through Sundance.
As the film industry continues to evolve, Redford’s legacy serves as a reminder that entertainment can be both profitable and purposeful, that celebrity status carries responsibility, and that authentic storytelling will always find an audience. His life’s work proved that one person’s vision and determination can indeed change an entire industry – and perhaps the world beyond it.
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“Newport & The Great Folk Dream”, directed by Robert Gordon, produced by Joe Lauro and presented out of competition at 82nd Venice film Festival, is a documentary made from footage shot in the early 1960s and it could not be more relevant to this 21st century political moment. While making it, they observed the USA trying to turn the world back to the racist and nationalist sentiments of this movie’s early 1960s era. In contrast, they were powerfully moved by the festival’s embrace of diverse cultures, by the exchange of songs and technique between the generations, by the 1960s fight for racial and electoral freedom.
“Newport and the Great Folk Dream” captures the spirit of protest that defined that era. From civil rights demonstrations to anti-war demonstrations, music served as a vital tool for expression and activism. As Robert Gordon explains “the music at that time helped bring along change in the civil rights movement and the anti-war movement. Singing gave people a sense of power and unity”.
Modern relevance of musicThe filmmakers note that the themes of protest and social activism remain relevant today. Gordon reflects: “Music is powerful in many ways. When people sing for a cause now as in the past, it creates a bond that can inspire action”. The film advocates that music continues to be a potent tool that can bridge generational gaps and inspiring collective effort.
“Newport and the Great Folk Dream” serves as a powerful reminder of how art and activism intertwine. Through restored footage and insightful storytelling, the film captures a pivotal moment in American history, highlighting the timeless role of folk music as a catalyst for change.
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Lee Hong-Chi’s latest movie, “A Dance in Vain”, showcased at Venice Critics Week at the 82nd Venice Film Festival, delves into the cityscape of Shanghai to portray a landscape of lost hopes and silent struggles. The film captures the emotional landscape of contemporary urban youth, blending minimalist acting with poetic narrative techniques that evoke both despair and resilience. We talked about the movie with director Lee and actress Cici Wang.
A Portrait of a Changing ShanghaiSet against the backdrop of a city grappling with economic decline, “A Dance in Vain” paints a portrait of Shanghai as a place where dreams fade amidst growing urban alienation. The film’s protagonist, Monkey, a young artist searching for her space in this ambiguous city, embodies the sense of disconnection felt by many young people today. “This city is no longer a land of dreams but a place of unfulfilled hopes,” explains Lee Hong-Chi. The narrative explores how economic hardships and social pressures influence the aspirations of the new generation.
Minimalism and Voiceover as Narrative ToolsOne of the hallmarks of “A Dance in Vain” is Lee Hong-Chi’s deliberate use of minimalistic acting, especially in the portrayal of Monkey, played with restrained emotion by actress Cici Wang. The director emphasizes internal expression, requiring actors to convey complex feelings through subtle gestures and minimal dialogue. This approach heightens the film’s contemplative atmosphere.
Lee Hong-Chi also employs classical voiceover techniques, reminiscent of film noir, to express the inner worlds of the characters. “Voiceover allows us to delve into mental journeys that visuals alone might not fully capture,” he explains. The technique creates a layer of introspection and regret, adding depth to the narrative and encouraging viewers to reflect on the characters’ inner struggles.
Themes of Generation and HopeReflecting on the film’s themes, Lee Hong-Chi discusses the emotional state of today’s youth. Although material needs are generally met, many young people grapple with existential questions: “What is the purpose of life? Can I fulfill my dreams?” He highlights that younger generations, unlike their predecessors, face intense social pressures despite experiencing relatively comfortable childhoods. His observations are grounded in real-life encounters, as most actors and locations are non-professionals and authentic settings within walking distance from his home.
“While they are financially stable, many young people feel lost and question their future,” Lee Hong-Chi notes. The film portrays this internal conflict, capturing both the superficial vibrancy of urban life and the deep-seated despair of unmet expectations.
Authentic Urban Life in Cinematic StyleShot in real locations such as cafés, floral shops, and streets near the director’s residence, “A Dance in Vain” emphasizes authenticity. The casual, candid atmospheres contribute to the film’s realism, immersing viewers in contemporary Shanghai life. By depicting everyday environments and non-actors, Li Hongqi creates a raw and intimate portrait of a city and its young inhabitants.
A Reflection on Urban Identity and Personal Purpose“A Dance in Vain” is a reflection on the evolving identity of urban youth amidst societal change. The film raises questions about hope, purpose, and the ongoing search for individuality in a city of shifting dreams. It offers a poetic yet unflinching look into the emotional landscape of modern China.
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Interview during the 82nd edition of Venice International Film Festival with Julian Schnabel, director of the film “In the hand of Dante”, and actor Oscar Isaac. The production, part of the official selection in Venice Film Festival 2025, is based on the book by Nick Tosches that intertwines two temporal lines: one of the author, looking for the original manuscript of “The Divine Comedy”, and a second one that follows Dante himself.
Julian Schnabel’s fascination with Dante stems from the complexity and impossibility of the original book. The director explained that the source material is “one of the craziest and most impossible books I’ve ever read”. Oscar Isaac, also an executive producer of the film, shared insights into his role and the passion behind producing “In the Hand of Dante.” He revealed that he chooses projects primarily based on emotional connection and a sense of ownership. For Isaac, this film represented both a personal challenge and an exploration of profound themes.
Julian Schnabel’s directorial style is characterized by a fearless embrace of spontaneity and improvisation. Oscar Isaac described Schnabel as a director who “divides towards the unknown,” fostering an environment where inspiration flows freely. The creative process was described as “working without a net”, highlighting the unpredictable and intuitive nature of shooting this wild, visceral film.
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We met in Venice with Jacopo Chessa, director of the Veneto Film Commission and also president of the Italian Film Commissions Association (IFC). With these two hats, we had a chat on both jobs and the reasons that brought him to the festival and the Venice Production Bridge.
The agreement between IFC and British Film CommissionsAs president of IFC, Jacopo Chessa tells us about the renovation of the agreement between the association and the British Film Commissions. The agreement will be signed at Focus London; the novelty of it lays in the definition of outbound missions and incoming missions for both countries for producers to go and visit and experience new locations and situations that can be inspirational for new projects or right to be used for projects already in preparation. the aim of this new aspect of the agreement is fostering coproductions between the two countries.
Some highlights from the Veneto Film CommissionJacopo Chessa, director of Veneto Film Commission, announced that the new call for projects will be opened in early October, with a budget to be given out of 3 millions euros. The film commission is also very proud to be present this year at the Venice International film festival with 5 films, in different sections, that were helped and supported through the film commission offices.
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Josh Siegel, film curator at MOMA in New York is one of the members of the first ever jury at Giornate degli Autori. He is happy to be here as he has a great admiration for Gaia Furrer, the director fo Giornate degli Autori , and all her team. We talked about this experience and also about his job as film curator.
The only possible approach to the role of a jurorJosh Siegel is adamant on having an open mind as the only possible approach to the task of judging a film. The open mind is not only referred to the various genre of films you can potentially watch, but also to the ideas and sensibility of your fellow jurors, that have different taste that could be challenging to you but maybe could shed a new light on your vision of a film.
Being a film curator is to have open mind as wellThe joy of his job lies on the possibility of celebrating great directors on the recent or older past (like Chantal Ackerman, with a retrospective to open in two weeks time), as well as discovering new talents new directors he ‘ve never heard of before. Again, all is about being receptive.
MOMA has a privileged position in the diffusion of cinemaIt is true, Josh Siegel explains, that MOMA has been the first museum that considered cinema as an art form as well as painting and sculpture, photography, design , architecture. This oriented films in a larger context, in the whole story of modernism and contemporary art . In addition to that, MOMA has an audience composed by scholars as well as regular film goers so our aim is to educate and entertain, that gives us a chance of wider possibilities of programming.
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At the 82nd Venice International Film Festival, the official awards were announced, assigned by the five international juries during the closing ceremony.
Venezia 82The jury, chaired by Alexander Payne, with Stéphane Brizé, Maura Delpero, Cristian Mungiu, Mohammad Rasoulof, Fernanda Torres, and Zhao Tao, awarded:
- Golden Lion for Best Film: Father Mother Sister Brother by Jim Jarmusch (USA, Ireland, France)
- Silver Lion – Grand Jury Prize: The Voice of Hind Rajab by Kaouther Ben Hania (Tunisia, France)
- Silver Lion – Best Director: Benny Safdie, The Smashing Machine (USA)
- Volpi Cup – Best Actress: Xin Zhilei, Ri Gua Zhong Tian (The Sun Rises on Us All) by Cai Shangjun (China)
- Volpi Cup – Best Actor: Toni Servillo, La grazia by Paolo Sorrentino (Italy)
- Best Screenplay: Valérie Donzelli and Gilles Marchand, À pied d’œuvre by Valérie Donzelli (France)
- Special Jury Prize: Sotto le nuvole by Gianfranco Rosi (Italy)
- Marcello Mastroianni Award (emerging actor): Luna Wedler, Silent Friend by Ildikó Enyedi (Germany, Hungary, France)
OrizzontiEn el camino Best Film OrizzontiThe jury chaired by Julia Ducournau, with Yuri Ancarani, Fernando Enrique Juan Lima, Shannon Murphy and RaMell Ross, awarded:
- Best Film: En el camino by David Pablos (Mexico)
- Best Director: Anuparna Roy, Songs of Forgotten Trees (India)
- Special Jury Prize: Harà Watan (Lost Land) by Akio Fujimoto (Japan, France, Malaysia, Germany)
- Best Actress: Benedetta Porcaroli, Il rapimento di Arabella by Carolina Cavalli (Italy)
- Best Actor: Giacomo Covi, Un anno di scuola by Laura Samani (Italy, France)
- Best Screenplay: Ana Cristina Barragán, Hiedra (The Ivy) (Ecuador)
- Best Short Film: Utan Kelly (Without Kelly) by Lovisa Sirén (Sweden)
Venice Award for a Debut Film – Luigi De LaurentiisThe jury chaired by Charlotte Wells, with Erige Sehiri and Silvio Soldini, awarded:
- Lion of the Future: Short Summer by Nastia Korkia (Germany, France, Serbia)
Giornate degli Autori – Venice Spotlight Audience Award – Armani Beauty: Calle Málaga by Maryam Touzani* (Morocco, France, Spain, Germany, Belgium)
Venice ClassicsThe jury chaired by Tommaso Santambrogio with 23 Italian film students awarded:
- Best Documentary on Cinema: Mata Hari by Joe Beshenkovsky, James A. Smith (USA)
- Best Restored Film: Bashu, Gharibeye Koochak (Bashù, The Little Stranger) by Bahram Beyzaie (Iran, 1985)
Venice ImmersiveThe jury chaired by Eliza McNitt, with Gwenael François and Boris Labbé, awarded:
- Grand Prize Venice Immersive: The Clouds Are Two Thousand Meters Up by Singing Chen (Taipei, Germany)
- Special Jury Prize: Less than 5gr of Saffron by Négar Motevalymeidanshah (France)
- Achievement Award: A Long Goodbye by Kate Voet and Victor Maes (Belgium, Luxembourg, Netherlands)
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Emma Barboni, of the Emilia Romagna Film Commission comes to talk with Fred Radio about the participation of her institution at the Venice International Film festival, both for the usual meetings with producers and directors at the VPB but also to support the films in the festival’s selections that were shot in Emilia Romagna region through the help of her office. One of these films is “The Kidnapping of Arabella” by Carolina Cavalli ,which stands out for its compelling storytelling, impressive visuals, and the region’s strategic role in film production and development.
The film’s unique visuals and setting“The Kidnapping of Arabella” is praised for its stunning cinematography and the portrayal of authentic settings. The film’s director and production team chose Emilia Romagna for its diverse landscapes and rich cultural backdrop. Locations in Ferrara, Ravenna, Rimini, Comacchio, Codigoro, and Ville di Comacchio contributed to creating a visually captivating narrative that transports viewers into the story accurately yet artistically. Some scenes intentionally blend in imaginative landscapes, making it challenging to recognise the actual locations on screen. This technique underscores Emilia Romagna’s versatility and its capacity to support both realistic and stylised storytelling. The regional landscapes serve as a vital asset, offering filmmakers a palette for creative expression.
Regional support and coproduction opportunitiesThe Emilia Romagna Film Commission plays a significant role in fostering international co-productions and attracting filmmakers worldwide. Recently, the region has secured agreements with entities like the Essen Film Area, aiming to boost coproduction projects with German and French partners. Such collaborations are part of Emilia Romagna’s broader strategy to reduce production costs and encourage international partnerships. New rules and incentives, such as lowering regional spending requirements for minority coproductions from 30% to 20%, make the region more attractive for filmmakers seeking cost-effective locations. These policies aim to facilitate coproductions that bring diverse stories to life while strengthening regional film infrastructure.
Upcoming projects and regional talentThe festival also highlighted several promising projects in development, including works by regional production companies like Tempesta Film. Notable titles include the film about Giovanni Pascoli, directed by Giuseppe Piccioni, and new projects in the pipeline that benefit from the region’s supportive infrastructure. The region’s talent pool is equally vibrant. Young actors and established filmmakers are increasingly choosing Emilia Romagna as their filming destination, thanks to its availability of high-quality locations and regional funding programs. Casting sessions for upcoming productions have already begun, with promising talent emerging from local auditions.
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At the 82nd Venice International Film Festival, the collateral awards were announced, adding to the official competition with recognitions dedicated to independent cinema, new voices, and experimental storytelling.
Queer Lion Award 2025 En el camino by David Pablos*
Cinema & Arts Award Best Film (ex aequo): The Tale of Silyanby Tamara Kotevska, Qui vit encore by Nicolas Wadimoff * Best Multidisciplinary Artist: Morteza Ahmadvand, Firouzeh Khosrovani*
FRED Award 2025 Dag Johan Haugerud*, President of the Giornate degli Autori Jury
Final Cut in Venice Main Award: The Station (Al Mahattah) by Sara Ishaq * Partner Awards: My Semba, House of the Wind, Let’s Play Soldiers, Out of School, Yesterday the Eye Didn’t Sleep, Standing at the Ruins, Legacy*
Other Collateral Awards 1964 Pop Art Award (Cineteca Calabria): Valeria Bruni Tedeschi * Arca CinemaGiovani: The Voice of Hind Rajab by Kaouther Ben Hania (Best Film in Competition), La grazia by Paolo Sorrentino (Best Italian Film) * Under 40 Women Authors Award (Parallelo 41 Produzioni): Un anno di scuola by *Laura Samani (Best Director), Vainilla by Mayra Hermosillo (Best Screenplay) * BookCiak Award (Calipso Association): L’Étranger by François Ozon * Brian Award (UAAR): La grazia by Paolo Sorrentino * Fundación Casa Wabi – Mantarraya Award: assigned to the winner of the Luigi De Laurentiis Venice Award for a Debut Film * XXXVII CICT-UNESCO Enrico Fulchignoni Prize – Fellini Medal: The Voice of Hind Rajab by Kaouther Ben Hania * CinemaSarà Award (Fondazione Cineteca Italiana): Silent Friend by Ildikó Enyedi * Italian Red Cross Award: The Voice of Hind Rajab by Kaouther Ben Hania * Edipo Re Award: The Voice of Hind Rajab by Kaouther Ben Hania, Silent Friend by Ildikó Enyedi – Youth Jury Award: Straight Circle by Oscar Hudson * Fai Persona Lavoro Ambiente Foundation Award: Human Resource by Nawapol Thamrongrattanarit – Special Mentions: À pied d’œuvre (work), Ghost Elephants (environment), Sotto le nuvole (social environment) * Fanheart3 Award: Frankenstein by Guillermo Del Toro (Golden Graffetta), Hateshinaki Scarlet by Mamoru Hosoda (Silver Ship – Best OTP), Happy Shadow by Pei-Ying Lin and Ting-Ruei Su (XR Fan Experience) * FEDIC Award: La valle dei sorrisi by Paolo Strippoli (Feature), Arca by Lorenzo Quagliozzi (Short) * Film Impresa Special Award (Unindustria): Ferdinando Scianna – Il fotografo dell’ombra by Roberto Andò * FIPRESCI Award: Silent Friend by Ildikó Enyedi (Competition), Agon* by Giulio Bertelli (SIC) * Europa Cinemas Label: Bearcave by Stergios Dinopoulos and Krysianna B. Papadakis * People’s Choice Award (Giornate degli Autori): Memory by Vladlena Sandu, A Sad and Beautiful World by Cyril Aris * GDA Director’s Award: Inside Amir by Amir Azizi * Green Drop Award: Bugonia by Yorgos Lanthimos, Silent Friend by Ildikó Enyedi * Impact Golden Globes Prize (Documentary): Remake by Ross McElwee * Interfilm Award (Interreligious Dialogue): Silent Friend by Ildikó Enyedi * Lanterna Magica Award (CGS): Un anno di scuola by Laura Samani * Leoncino d’Oro Agiscuola/UNICEF: The Voice of Hind Rajab by Kaouther Ben Hania – UNICEF Special Mention: The Voice of Hind Rajab * Carlo Lizzani Award (ANAC): Confiteor by Bonifacio Angius * NETPAC Award: Hijra (The Ivy) by Shahad Ameen * NUOVOIMAIE Talent Award – Fabio Sartor Prize: Giacomo Covi, Pietro Giustolisi, Samuel Volturno (Un anno di scuola) * Francesco Pasinetti Award (SNGCI): La grazia by Paolo Sorrentino (Best Film), Valeria Bruni Tedeschi (Best Actress), Toni Servillo (Best Actor), Anna Ferzetti (Special Award) * La Pellicola d’Oro Award: Elda Baldi (Production Manager – La grazia), Michael Ceracchini (Props – Duse), Diana Maria Hernandez Giralo (Chief Electrician – Elisa) * RB Casting Award: Tiziano Menichelli (Il Maestro) * SIC Grand Prize: Straight Circle by Oscar Hudson * SIC Audience Award: Ish by Imran Perretta * Luciano Sovena Award: Agon by Giulio Bertelli * Mario Serandrei – Hotel Saturnia Award: Waking Hours by Federico Cammarata, Filippo Foscarini * SIC@SIC Awards: Marina by Paoli De Luca (Best Short, Best Technical Contribution), Festa in famiglia by Nadir Taji (Best Direction) * SIGNIS Award: Elisa by Leonardo Di Costanzo * Sorriso Diverso Venezia Award: Elisa by Leonardo Di Costanzo (Italian Film), The Voice of Hind Rajab by Kaouther Ben Hania (Foreign Film) * Soundtrack Stars Award: Duse (score by Fabrizio Elvetico, Marco Messina, Sacha Ricci) * UNIMED Award: The Voice of Hind Rajab by Kaouther Ben Hania
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An engaging new film, “Director’s Diary”, debuted at the 82nd Venice International Film Festival, offering a profound glimpse into both personal memories and collective history. Blending artistic expression with documentary elements, the film presents a compelling portrait of life through the eyes of its creator, capturing the essence of a turbulent era from 1957 to 1991. We met with the director Aleksandr Sokurov, and the producer Alena Shumakova on the eve of the premiere at the Venice Festival.
A Personal Chronicle Becomes a Cinematic Journey“Director’s Diary” is based on a handwritten journal kept by the director over several decades, chronicling world events, social upheavals, and personal reflections. The decision to transform these pages into a film stemmed from a sense of necessity and artistic urgency. “I realized I needed to ‘bake’ this story,” the director explained, as the project was more than a personal endeavor—it aimed to resonate with a wider audience seeking understanding of a complex period. The film serves as a visual “sculpture of time,” thoughtfully selecting a range of pivotal moments. It is not a documentary in the traditional sense but an artistic exploration that leaves room for interpretation, avoiding didacticism or polemics. Instead, “it silently presents the most painful and significant aspects of human life,” the director added, inviting viewers to reflect rather than be pressed for a specific viewpoint.
Themes and Visual Choices“Director’s Diary” delves into themes that extend beyond the Russian experience, touching on broader European and global histories. The film weaves archival footage—primarily Russian—capturing social movements, political upheavals, and milestones in cinema history. “I wanted to include images that matter, not just for Russia but for everyone,” the filmmaker shared. The selection process was guided by emotional resonance and significance. Sokurov aimed to portray the faces of everyday people—workers, farmers, individuals living simple yet dignified lives. “I love my compatriots,” he states. The film captures moments of daily life—people traveling on the metro, street vendors—showcasing their inner strength and unique dignity.
A Poetic Reflection on Society and Humanity“Director’s Diary” does not shy away from difficult topics but approaches them with a contemplative tone. The film avoids political condemnation or news-reporting style, favouring an emotional and artistic rendering of history. This approach allows the audience to engage deeply with the personal and collective stories presented, fostering empathy through visual storytelling. Sokurov points out that the film is an artistic exercise—not a commentary or critique but a poetic reflection of life’s ebb and flow. “From a multiplicity of things, we try to form a sculpture of time as it unfolds,” he explained, blending personal memory with societal observations.
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Nidhi Saxena is the director of the film “Secret of a Mountain Serpent”, one of the four films of the Biennale College program, a compelling reflection on the themes of confinement, cultural identity, and the transformative power of dreams. Premiering at the 82nd Venice Film Festival and starring Adil Hussain, this introspective piece captures the stark realities faced by women living in mountainous regions, juxtaposed with their aspirations and inner strength.
Unveiling the Artistic Vision“Secret of a Mountain Serpent” delves into the lives of women in isolated mountain communities, where the landscape often feels like a prison. The filmmaker emphasises the importance of change and perseverance. She reflects on how women in these areas dream of transformation — not just individual growth, but societal shifts as well. “It’s fascinating how women can change, how dreams can finally materialise,” she notes. The narrative explores their journeys of self-discovery, underlying that change often begins with a resolute desire to pursue one’s passions.
Authenticity and Cultural RootsSet against the backdrop of Rajasthan and the northeastern regions of India, including Sikkim, “Secret of a Mountain Serpent” authentically portrays the diverse tribal cultures. “I want to show the essence of their dreams, their hopes, without necessarily highlighting conflict,” she explains.
Themes of Transformation and HopeThroughout the movie, the theme of transformation is palpable. Nidhi Saxena speaks about a long-held vision, rooted in her passion for storytelling and her cultural heritage. She believes that storytelling can be a catalyst for change, reflecting her conviction that dreams hold the power to reshape realities. “Change is a principle we follow,” she states. Whether addressing gender roles or societal expectations, the film underscores that even in the most remote corners, aspirations persist. The characters’ journeys symbolise a broader universal struggle to break free from constraints and realize their true potential.
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The documentary “Kim Novak’s Vertigo” offers an intimate portrait of the Hollywood star renowned for her role in Alfred Hitchcock’s masterpiece, Vertigo. Filmmaker Alexander O. Philippe sheds new light on Kim Novak‘s extraordinary life, revealing personal insights and emphasising her often-overlooked filmography. We have an interesting talk before the Premiere at the Venice Film Festival.
Unveiling Novak’s personal journeyThe documentary delves into Novak’s personal life, highlighting her deep connection with director Alexander O. Philippe. According to the filmmaker, their bond evolved quickly, allowing Novak to share candid reflections about her experiences in Hollywood. The director describes her not merely as the star of Vertigo but as a “wonderful person” who profoundly impacted his life.
Throughout the film, Novak openly discusses her feelings about Hollywood’s manipulative nature and her resistance to it. She recounts how the industry often manipulated her image and choices, emphasizing her desire to remain true to herself. Such honesty offers viewers a rare glimpse into the actress’s internal struggles—elements that are often glossed over in Hollywood portrayals.
Celebrating Novak’s filmographyA significant aspect of the documentary is its emphasis on Novak’s diverse and underrated filmography. While most audiences associate her with Vertigo, O. Philippe advocates for a broader appreciation of her work. He highlights films like “Stranger when we meet”, “Lylah Claire”, “Kiss me stupid”, and “Middle of the night”. “Her films are astonishing”, he remarks. “We need to bring her back into the spotlight and reevaluate her contributions to cinema”. The documentary suggests that Novak’s lesser-known works are ripe for rediscovery and deserve recognition on the same level as Vertigo.
Mystery and self-remembranceOne of the film’s intriguing elements is its narrative structure, which mirrors Vertigo’s spiral motif. Novak’s reasons for leaving Hollywood remain elusive, presented as a series of revelations that change with each retelling. Alexander O. Philippe emphasizes that life, much like Novak’s story, is complex and full of convoluted, non-linear truths.
This approach underscores Novak’s core belief in staying true to herself. She left Hollywood because she felt she could no longer remain authentic within its confines, a decision driven by her desire for integrity rather than external pressures.
A legacy worth rediscovering“Kim Novak’s Vertigo” is more than a tribute; it’s an invitation to reevaluate one of Hollywood’s most enigmatic actresses.
As O. Philippe I notes, Novak’s story reflects broader themes of self-preservation and artistic integrity amid Hollywood’s often harsh realities. This documentary encourages new generations to explore her filmography and understand her true legacy, which extends far beyond her iconic performance in Vertigo.
For cinephiles and newcomers alike, “Kim Novak’s Vertigo” is a compelling portrait of a talented actress whose influence continues to resonate within cinema history. A must-watch for anyone interested in Hollywood’s golden age and the stories seldom told behind the camera.
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As happens very year, we are delighted to meet in Venice with Valentina Martelli, founder and CEO of ITTV International Forum & TechInEntertainment, to talk about the development of the event and the key moments to note of the forum that works like a bridge between finance and film industry, including the tech side of it that is getting more and more substantial and important.
The forum is born to help interactionsValentina Martelli echoed the importance of quick, meaningful interactions. She highlighted how short, targeted encounters—sometimes only lasting two or three days—are crucial for fostering collaborations and maintaining industry momentum. These spontaneous networking moments often lead to new opportunities, emphasising the importance of face-to-face engagement in a digital age.
Innovating film direction with technologyDiscussing the creative process behind films, Valentina Martelli noted a significant shift in filmmaking approaches. Directors are increasingly using advanced tools, including AI, to enhance storytelling. Valentina pointed out that the integration of technology allows filmmakers to experiment more freely, blending traditional craft with innovative solutions. This approach not only broadens creative horizons but also opens doors for new forms of expression within the film industry.
AI’s role in shaping contemporary cinemaThe conversation touched on the ongoing influence of artificial intelligence in filmmaking. From training algorithms using extensive libraries to streamlining production workflows, AI offers a range of possibilities. Valentina Martelli emphasised that while AI can assist in various stages—such as location scouting with tools like Google Maps—it is ultimately human ingenuity that drives meaningful storytelling. Films like “Rainbow” serve as a testament to how technology and human creativity can coexist, pushing cinema toward exciting new frontiers.
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In competition at the 24Frame Future Film Festival, Hugh Welchman with "The Peasants", a groundbreaking oil-painted animation capturing love, betrayal, and resilience in a Polish village. The post "The Peasants", interview with director Hugh Welchman appeared first on Fred Film Radio.
The artistic director of the Trieste Science+ Fiction Festival on the success of the 24th edition The post Alan Jones, interview with the artistic director of the 24th Trieste Science+ Fiction Festival appeared first on Fred Film Radio.
An interview with director Christopher Andrews and actor Colm Meaney for their "Bring Them Down", that confronts themes of isolation and conflict. The post "Bring Them Down", interview with director Christopher Andrews and actor Colm Meaney appeared first on Fred Film Radio.
At Alice nella Città the first feature film of Julien Menanteau "Lads", an insightful look into the world of young jockeys and the horse racing industry. The post "Lads", interview with the director Julien Menanteau appeared first on Fred Film Radio.
When We Were Sisters explores the complexities of friendship and family through a 90s lens. At Alice nella Città, director Lisa Brühlmann emphasizes the importance of resilience and connection in her heartfelt film. The post "When we were sisters", interview with director and actress Lisa Brühlmann appeared first on Fred Film Radio.
In competition at Alice nella Città, "The Courageous" by Jasmin Gordon who tells us about motherhood, through the great interpretation of Ophelia Kolb. The post "The Courageous", interview with director Jasmin Gordon and actress Ophelia Kolb appeared first on Fred Film Radio.
Fred Film Radio talks with Julie Keeps Quiet stars Tessa Van den Broeck and Grace Biot about portraying resilience, friendship, and the power of silence as the film competes at Alice nella Città. The post "Julie Keeps Quiet", interview with the actresses Tessa Van den Broeck and Grace Biot appeared first on Fred Film Radio.
“Diaries from Lebanon” is a documentary exploring personal and national grief through the stories of those affected by the ongoing conflicts. Experience the emotional journey of filmmaker Myriam El Hajj in this poignant narrative! The post “Diaries from Lebanon”, Interview with director Myriam El Hajj appeared first on Fred Film Radio.
From the director of ‘Serendipity’, A sudden case of Christmas with Danny De Vito and the young Antonella Rose, premieres in Rome The post “A sudden case of Christmas – Ops! È gia Natale” , interview with director Peter Chelsom and actress Antonella Rose appeared first on Fred Film Radio.
Reading Lolita in Teheran, shot in Rome and presented at the Rome Film Fest was a very important and life changing project for all the actresses involved. The post “Reading Lolita in Teheran”, interview with actresses Goldshifteh Farahani and Mina Kavani appeared first on Fred Film Radio.
Reading Lolita in Teheran by Eran Riklis, premiering at Rome Film Fest brings on the big screen the freedom and power of the book by Azar Nafisi The post “Reading Lolita in Teheran”, interview with director Eran Riklis and Book author Azar Nafisi appeared first on Fred Film Radio.
Director Mareike Engelhardt delves into the unsettling reality of radicalization in Rabia, her debut feature, in competition at Alice nella Città. The post "Rabia", interview with the director Mareike Engelhardt appeared first on Fred Film Radio.
At Alice nella Città, Milano, directed by Christina Vandekerckhove, exploring the bond between a father and his deaf son. The post "Milano", interview with the director Christina Vandekerckhove and the actor Matteo Simoni appeared first on Fred Film Radio.
We want to live here, produced by Sean Penn and presented at Alice nella Città is a subtle glimpse in the every day life of kids in Ukraine. The post “We want to live here”, interview with director Alexandrina Turcan appeared first on Fred Film Radio.
Yasemin Şamdereli on "Non Dirmi Che Hai Paura", in competition at Alice nella Città. A Story of Resilience, Family, and Hope. The post "Non Dirmi che hai Paura", interview with the director Yasemin Şamdereli appeared first on Fred Film Radio.
Conclave by Edward Berger, after San Sebastian continues its festival journey in Zurich Film Festival, waiting to land where it was shot, Rome. The post “Conclave”, interview with director Edward Berger appeared first on Fred Film Radio.
On the cusp of the BFI London Film Festival 2024 beginning, we speak with festival programmer Isabel Moir about what stands out on the programme this year, from the world premieres to the most talked about and buzzy titles from across the festival calendar from known auteurs, plus the emerging [...] The post BFI London Film Festival 2024, interview with festival programmer Isabel Moir appeared first on Fred Film Radio.
Super/Man: The Christopher Reeve Story, premiering in Zurich and special pre-opening event at Alice nella Città is an emotional journey on what it means to be an hero The post “Super/Man: The Christopher Reeve Story” interview with directors Ian Bonhôte and Peter Ettedgui appeared first on Fred Film Radio.
Hablamos con el director Chevi Muraday y la actriz Cayetana Guillén Cuervo del documental Mapa a Pandataria, a la edición número 20 del London Spanish Film Festival. The post "Mapa a Pandataria", entrevista con la actriz Cayetana Guillen Cuervo y el director Chevi Muraday appeared first on Fred Film Radio.
A talk with british director Mike Leigh and his protagonist, Marianne Jean-Baptiste on Hard Truth, in competition at the SSIFF The post “Hard Truths”, interview with director Mike Leigh and actress Marianne Jean-Baptiste appeared first on Fred Film Radio.
A talk with portuguese director Laura Carreira on her debut feature film On falling, in competition at the SSIFF The post “On Falling”, interview with director Laura Carreira appeared first on Fred Film Radio.
In this exclusive interview, in collaboration with Kinótico, we speak with Michael Tyburski, director of “Turn Me On“, a sci-fi romantic drama starring Bel Powley and Nick Robinson.
Tyburski’s debut feature, “The Sound of Silence“, premiered in competition at Sundance 2019.
His short film “Palimpsest” won a Special Jury Prize at Sundance 2013, and in the same year, he was named one of the 25 New Faces of Independent Film by Filmmaker magazine.
Tyburski is also no stranger to the San Sebastian Film Festival, having participated in its Culinary Zinema section in 2014 with his documentary short “Brooklyn Farmer“.
The post “Turn me on”, interview with the director Michael Tyburski appeared first on Fred Film Radio.
Ethan Hawke in Italy to present Wildcat and to receive the Golden Panther Award at the Lucca Film Festival The post Ethan Hawke, interview with the actor-director awarded at the Lucca Film Festival appeared first on Fred Film Radio.
The legendary filmmaker Martin Scorsese, an undisputed master of world cinema and the creator of some of the most iconic films in history, will be the guest of honour at the National Museum of Cinema in Turin on October 7 and 8, 2024. Scorsese will receive the prestigious Stella della Mole Award during a gala evening dedicated to him and will hold an exclusive Masterclass, followed by a retrospective of his most celebrated works.
Event ScheduleOctober 7, 2024
- 2:00 PM: Press conference at the National Museum of Cinema
- 7:30 PM: Award ceremony in the Temple Hall of the Mole Antonelliana
October 8, 2024
- 5:30 PM: Red Carpet at the Mole Antonelliana
- 6:00 PM: Masterclass by Martin Scorsese at Cinema Massimo
- 8:00 PM: Introduction to the retrospective at Cinema Massimo, followed by a screening of one of his most beloved films
Tickets for the Masterclass and retrospective will be available starting October 2, 2024, at 10:00 AM on www.museocinema.it and at 4:30 PM on www.cinemamassimotorino.it.
A Tribute to a Cinema MasterMartin Scorsese is widely regarded as one of the most influential and innovative directors in contemporary cinema. Born in New York in 1942 and raised in the Italian-American neighbourhood of Little Italy, he developed a passion for cinema at a young age, heavily influenced by Italian Neorealism and the great masters such as Rossellini and Fellini. These filmmakers deeply shaped his work, often exploring themes such as Italian-American identity, guilt, redemption, religion, and violence.
Since his involvement in the New Hollywood movement of the 1970s, Scorsese has revolutionized cinematic language, creating masterpieces like Mean Streets (1973), Taxi Driver (1976), Raging Bull (1980), and Goodfellas (1990). These films not only redefined gangster cinema and urban drama but also delved into the darker sides of the human psyche and American society.
Scorsese has also established some of film history’s most enduring and celebrated collaborations, particularly with actors like Robert De Niro and Leonardo DiCaprio. His partnerships with De Niro have produced iconic films such as Taxi Driver, Raging Bull, and Cape Fear. At the same time, his work with DiCaprio has resulted in notable films like The Aviator, The Wolf of Wall Street, and the recent Killers of the Flower Moon (2023).
Martin Scorsese’s Global ImpactA winner of numerous international awards, including an Academy Award for Best Director for The Departed (2006), Scorsese has left a profound mark on the history of world cinema. In addition to the Oscar, he has received prestigious accolades such as the Palme d’Or at the Cannes Film Festival, the Golden Lion for Lifetime Achievement at the Venice Film Festival, four BAFTA Awards, three Emmy Awards, and a Grammy Award.
Scorsese is also a passionate advocate for the preservation of cinematic heritage. In 1990, he founded The Film Foundation, a non-profit organization dedicated to restoring and preserving classic films. Thanks to his passion for film history, he has helped restore over 1,000 films worldwide, ensuring that these works continue to inspire future generations.
Scorsese’s Statement“Ever since I sat with my grandparents and parents watching Rossellini’s Paisà on television more than 70 years ago, Italian cinema has held a very special place in my heart, a presence that has guided me, supported me, encouraged me in my work as a filmmaker,” Scorsese said, recalling his love for directors like Rossellini. “It is truly meaningful for me to receive such recognition at this particular moment in my life, in this beautiful museum here in Turin dedicated to the history of one of the great loves of my life: Italian cinema.”
Retrospective and Special ScreeningsTo celebrate Scorsese’s visit, Cinema Massimo will host a retrospective dedicated to the Maestro from October 11 to 13, 2024, featuring a selection of his most iconic works. Scorsese will introduce the retrospective on October 8 with a special talk at 8:00 PM, followed by the screening of one of his most acclaimed films.
With a career over six decades, Martin Scorsese continues influencing and inspiring generations of filmmakers. This event is a unique opportunity for cinema enthusiasts to meet a true master and immerse themselves in the world of one of the most celebrated directors ever.
The post Martin Scorsese at the National Museum of Cinema in Turin appeared first on Fred Film Radio.
During the London Spanish Film Festival, Fred Film Radio spoke with Simón Casal, the mind behind the gripping and provocative political thriller “Artificial Justice“.
Casal gave us an insight into the extensive research he undertook to fully understand the current state and impact of artificial intelligence across different sectors, but particularly justice, to craft his near-future world and story.
He also shared how his feature sits within the broader genre of sci-fi, where our fears around the impact of technology on our lives have long been made manifest, from the likes of “Minority Report” to “Black Mirror“, plus other reference points that informed his movie’s look and feel, such as the noir-meets-sci-fi sensibility of “Blade Runner“.
In the same way the movie opens with a referendum on whether AI should be allowed to replace judges in the judicial system, Casal too wants to ask his audience which way they would vote given the chance, and if some aspects of the law should stay in the hands of humans, so that decisions can be made with empathy and humanity.
The post “Artificial Justice”, interview with director Simón Casal appeared first on Fred Film Radio.
Dame Maggie Smith, one of the most revered and talented British actresses in history, passed away at 89 in London. With a career of over seven decades, Maggie Smith left an indelible mark on theatre, film, and television. From her groundbreaking roles in The Prime of Miss Jean Brodie and Downton Abbey to her iconic portrayal of Professor Minerva McGonagall in the Harry Potter franchise, Smith’s extraordinary versatility and talent captivated audiences around the world.
Her death, announced by her family in a heartfelt statement, leaves a monumental void in the cinematic and theatrical worlds, though her legacy will undoubtedly endure. Despite her immense fame, Smith was known for her ability to maintain a low public profile, even after gaining global recognition for her pivotal roles in major productions.
A Legendary Career Rooted in the ClassicsBorn Margaret Natalie Smith on December 28, 1934, in Ilford, Essex, Maggie Smith was introduced to the stage at a young age. After attending the Oxford High School for Girls, she joined the prestigious Oxford Playhouse at the age of 16, setting the course for her storied acting career. From her early days in British theatre, Smith quickly made a name for herself as a formidable presence on stage, known for her sharp wit, comedic timing, and emotional depth.
By the 1960s, she had solidified her reputation as one of the most promising actors in British theatre, working with legends like Laurence Olivier at the National Theatre. One of her defining roles during this period was her portrayal of Desdemona in Olivier’s production of Othello. The 1965 film adaptation of Othello would earn Smith her first of six Oscar nominations.
Her brilliance on the stage was not confined to the UK. In 1975, Smith returned to Broadway, starring in productions like Noël Coward’s Private Lives, for which she received critical acclaim and a Tony nomination. However, it was her role in Peter Shaffer’s Lettice and Lovage (1990) that earned her a Tony Award, cementing her place in theatrical history.
The Transition to Film and Global StardomSmith’s transition from stage to screen came seamlessly, and she quickly became a beloved figure in the film world. In 1969, she starred in The Prime of Miss Jean Brodie, playing an eccentric, unorthodox Scottish schoolteacher whose personal beliefs and controversial relationships threatened to unravel her life. This performance won her the Academy Award for Best Actress, bringing her international acclaim.
Her second Oscar came in 1979 for her role in California Suite, a Neil Simon comedy in which she played a British actress nominated for an Academy Award, a poignant reflection of her own experiences in the entertainment industry. Her skill in balancing humour with genuine pathos set her apart, a quality that would define many of her later performances.
Yet, despite these accolades, Maggie Smith remained a relatively private figure until the global phenomenon that was Downton Abbey. Starting in 2010, she played the formidable Violet Crawley, the Dowager Countess of Grantham, a character known for her biting one-liners, iron will, and old-world sensibilities. Smith’s portrayal captivated audiences, and her sharp wit became synonymous with the series’ appeal. She won multiple Emmy Awards for her role, further solidifying her place as a beloved figure in pop culture.
A New Generation Discovers Maggie SmithFor younger generations, Smith was best known for her portrayal of Professor Minerva McGonagall in the Harry Potter franchise, a role she embraced with her characteristic professionalism. Spanning seven of the eight films, her embodiment of the stern but deeply caring Hogwarts professor became iconic, making her a familiar face to millions of children worldwide. Despite the widespread fame the Harry Potter series brought her, Smith avoided the limelight, maintaining her preference for a quiet life.
Smith’s ability to command a scene—whether with a sharp glance, an icy remark, or a tender moment—made her a master of her craft. Her roles in films like Gosford Park (2001) and The Best Exotic Marigold Hotel (2011) further demonstrated her incredible range. Whether in period dramas or contemporary settings, Maggie Smith‘s performances were always memorable, elevating every project she touched.
A Lifetime of Accolades and InfluenceThroughout her career, Maggie Smith amassed many awards, including two Academy Awards, four BAFTAs, three Golden Globes, and four Emmys. In addition to these honours, she was made a Dame Commander of the Order of the British Empire in 1990, and in 2014, she was appointed to the Order of the Companions of Honour for her contributions to the arts.
Smith’s dedication to her craft was matched only by her humility and sense of humour. Despite her accolades, she famously avoided watching her own performances, once admitting in 2020 that she had never seen an episode of Downton Abbey.
Maggie Smith’s passing marks the end of an era in British entertainment, but her influence on cinema, television, and theatre will be felt for generations.
Smith leaves behind two sons, Chris Larkin and Toby Stephens, both accomplished actors, and five grandchildren.
Maggie SmithThe post Maggie Smith, Legendary Star of Stage and Screen, Dies at 89 appeared first on Fred Film Radio.
During the London Spanish Film Festival, Fred Film Radio caught up with the co-directors María G. Royo and Julia de Castro on their blisteringly original wild trip of a road movie “On the Go“.
They shared how they deeply connected over the idea of an homage to 1980s movie “Corridas de alegría” while sat in a tax office, not least because it looked like a lot of fun was had making it. Staying true to the original, they shot on 16mm despite everyone telling them not to, needing to develop their own non-conventional methodology to make it work, often only shooting one take and only being able to see what they’d filmed days later.
We discussed the idiosyncratic voice of the feature, which Royo described as exploring the “fertile space between delirium and surrealism”, often shifting seamlessly between realism and fairytale-like otherworldliness, moments of tragedy and absurd humour, dealing with sex, relationships and queer identity in rebellious, fun and frank terms.
They further explained how they found a key thread for the film was the common ground the two shared about ambivalence and uncertainty about motherhood, with their two differing perspectives, presented in a raw, irreverent and playful way, creating the central conceit of the film. The movie also emerged as an ode to friendship, particularly intergenerational friendship, which isn’t often shown on screen.
Finally, they gave us a sneak peek into the epic and varied soundtrack, which featured both local artists and the likes of Nina Kravitz, and their hope to find distribution in and collaborate with the UK on productions in future.
The post “On the Go”, interview with co-directors María G. Royo and Julia de Castro appeared first on Fred Film Radio.
On the opening night of the 20th anniversary of the London Spanish Film Festival, Fred Film Radio spoke with Laura Jou about her second feature, the psychological thriller “Free Falling” or “Caída Libre“.
The director shared how her jumping-off point was her central character of Marisol, a woman who wears a mask both literally in the per cent make-up she wears and figuratively, a veneer of strength hiding intense vulnerability and insecurity.
She explained how she worked to craft the gymnast-turned-coach along with her actress Belén Rueda, both inside and out in terms of her look and also her inner conflicts, as well as casting Ukranian Mariia Netavrovana, a gymnast who, although had no acting experience or Spanish language skills, was perfect for the part of Angelica.
We further discussed the importance of the striking visuals, colours and sound design in the film, which add to the tense atmosphere, and the role of symbols and metaphors.
Jou expressed her desire for viewers to see past Marisol’s tough exterior to see the journey she takes toward redemption and self-acceptance through the movie, raising questions about societal pressures on women to look, age, behave and succeed in particular ways, often with dire consequences.
The post “Free Falling”, interview with director Laura Jou appeared first on Fred Film Radio.
On the second night of the 20th edition of London Spanish Film Festival, Fred Film Radio spoke with the creators of “Birds Flying East” or “Pájaros“, director Pau Durà and producer David Ciurana.
The filmmakers shared how the feature not only follows a physical road trip across Europe but an interior one, as two seemingly opposite individuals both clash and find connection, run away from and face their pasts.
Durà spoke about how, although the feature is not autobiographical, it is informed by his own position in life, and his desire to unpack themes around parenthood, ageing and death but with humour and lightness, through “anti-heroic”, flawed characters. The creative duo also explained how they brought together their central trio, Javier Gutiérrez, Luis Zahera and Teresa Saponangelo, and the fun they had on set, particularly with the comedic scenes. And while the shoot across borders presented endless challenges, it was also key to the storytelling.
Finally, they expressed their wish that audiences find hope in humanity in their film, despite its tragic moments.
The post “Birds Flying East”, interview with director Pau Durà and producer David Ciurana appeared first on Fred Film Radio.
Today, during the press conference, the rich program of the 22nd edition of Alice nella Città was unveiled. The festival will take place in Rome from October 16 to 27, 2024, parallel to the Rome Film Festival. Directed by Gianluca Giannelli and Fabia Bettini, Alice nella Città continues to focus on younger generations, showcasing a selection of films that reflect a strong commitment to emerging talent and debut works while also paying tribute to renowned cinema masters.
The International Competition: Showcasing the Best Films for YouthThe program‘s core will be the international competition, featuring 14 films offering a diverse snapshot of contemporary cinema, with 8 directed by women. Among the standout titles is A Real Pain by Jesse Eisenberg, which sensitively and humorously explores intergenerational trauma within the Jewish community, with Kieran Culkin in the leading role. Another highly anticipated film is Under the Volcano by Damian Kocur, Poland’s Oscar entry for Best International Film, which delves into familial guilt amidst the conflict in Ukraine.
The competition continues with When We Were Sisters by Lisa Brühlmann, a touching work that explores the bond between sisters and motherhood through an unconventional female narrative. Rita is the surprising directorial debut of Paz Vega, a moving reflection on gender violence seen through the eyes of a child. When the Light Breaks by Rúnar Rúnarsson is an emotional journey that deals with the search for love and beauty in pain. Flow by Gints Zilbalodisis a modern fairy tale without dialogue, exploring the themes of brotherhood and abandonment.
A scene from “Flow” by Gints ZilbalodisSpecial Screenings: Coppola, Scott, and Great Auteur CinemaAmong the most anticipated events is a tribute to Francis Ford Coppola, who will be a festival guest with a dedicated retrospective and a special event co-produced with the Rome Film Festival. Coppola will present his highly anticipated Megalopolis, a majestic epic that examines modern America, marking one of the year’s most exciting cinematic events.
Another homage will be paid to Ridley Scott, featuring the screening of his first short film, The Boy and the Bicycle. These two events underscore Alice nella Città’s commitment to connecting young audiences with international cinema masters, inspiring them to explore new creative horizons.
Nathalie Emmanuel as Julia Cicero and Adam Driver as Cesar Catilina in Megalopolis. Photo Credit: Courtesy of LionsgatePanorama Italia: A Spotlight on Independent Italian CinemaThe Panorama Italia section offers a platform for independent Italian cinema, with a selection of 7 films in competition and 4 out of competition. Opening the section is Nomore Trouble by Tommaso Romanelli, which focuses on the autobiographical account of the author’s father’s disappearance at sea. One of the standout films is Sur Un Fil, the directorial debut of actor Reda Kateb, which will close the festival with a touching story of redemption set in the world of circus performers.
Additionally, restored documentaries Vito e gli Altri by Antonio Capuano and Dino Risi‘s classic Il Giovedì, restored in 4K, will be screened to celebrate the centenary of actor Walter Chiari‘s birth.
Womenlands: Celebrating Female ExcellenceThe festival pays special attention to female excellence with the Womenlands project, honouring three outstanding actresses: Rossy De Palma, Pedro Almodóvar‘s muse; Paz Vega; and Matilda De Angelis. The award recognizes their artistic talent, social impact, and ability to serve as role models for younger generations.
TV Series and Short Films: Bridging Generations and New NarrativesThe festival doesn’t forget television series, with much-anticipated premieres like La Legge di Lidia Poët, featuring Matilda De Angelis as Italy’s first female lawyer, and The Bad Guy, with Luigi Lo Cascio in dual roles as a judge and a mafioso. Noteworthy is also Nudes, which addresses the sensitive topic of revenge porn, and Never Too Late, a futuristic story set in Sardinia in 2046.
Finally, Alice nella Città renews its focus on short films with the Short Film Days, a three-day industry event that promotes networking among film professionals. The Onde Corte section will feature 40 short films selected for their bold exploration of new languages and contemporary issues.
The 2024 edition of Alice nella Città confirms itself as one of Italy’s most important cinematic events, skillfully blending fresh new cinema with the wisdom of seasoned masters. Through its rich and varied program, the festival serves as a space for intergenerational and linguistic exchange, inspiring audiences and supporting future cinema.
The post Alice nella Città 2024: Among New Talents and Cinema Masters appeared first on Fred Film Radio.
At Kinótico, on the occasion of our special coverage of the San Sebastian Film Festival, in collaboration with FRED Film Radio, we talked to Adam Elliot, director and screenwriter of “Memoir of a snail“.
The Australian director is premiering in Zinemaldia right after the film won the last edition of Festival de Annecy, the most important recognition for an animation film in the film festival world.
Oscar winner in 2004 with his short film “Harvie Krumpet“, Adam Elliot competes in the Perlak section where “Memoir of a snail“ is one of only two animation films. The other one competing for the audience award is a US production, “The Wild Robot“.
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At Kinótico, on the occasion of our special coverage of the San Sebastian Film Festival, in collaboration with FRED Film Radio, we talked to Audrey Diwan, director of “Emmanuelle” and the actresses Noémie Merlant y Chacha Huang.
The film is competing for the Golden Shell at the Festival and it is opening its 72nd edition.
It is Audrey Diwan’s first time competing for the biggest prize in San Sebastián after participating as a member of the jury in the 2021 edition, one year after winning a Golden Lion in Venice for “L’événement“.
Noémie Merlant is well known to SSIFF as she already presented, among others, the following films: “Portrait of a Lady on Fire” by Sciamma, “The innocent” by Louis Garrel and “One Year, One Night” by Isaki Lacuesta
It is instead the first time in San Sebastián for Spanish actress Chacha Huang.
The artists talk about their surprising decision of revisiting an erotic cinema classic by giving it a contemporary look and a feminist approach.
The post “Emmanuelle”, interview with director Audrey Diwan and actresses Noémie Merlant and Chacha Huang appeared first on Fred Film Radio.
Today, September 20, 2024, during a press conference at the Teatro Olimpico in Rome, the full program of the 19th edition of the Rome Film Fest was unveiled, set to take place from October 16 to 27, 2024. This year, the event celebrates the centenary of the birth of Marcello Mastroianni, one of the greatest icons of Italian and international cinema, with a retrospective and an official image depicting him on the set of Federico Fellini’s masterpiece, “8½.”
Over the years, the Rome Film Fest has become a landmark in the international landscape, thanks to a carefully curated selection that attracts cinephiles, industry professionals, and big-screen stars worldwide every year. With a mix of world premieres, masterclasses, and special screenings, this 19th edition promises to deliver strong emotions and high-level cinematic insights.
Poster of the Rome Film Fest 2025
Foto-di-Gideon-Bachmann-©-Archivi-Cinemazero-ImagesSections of the Fest: An Overview of the Most Anticipated FilmsThis year’s program is particularly rich, featuring six official sections that range from crowd-pleasers to experimental works by emerging directors. Here are the details of the main sections:
- Progressive Cinema Competition – Visions for the World of Tomorrow
The festival’s most prestigious competitive section, the Progressive Cinema Competition, hosts 18 international films exploring visions of the future, reflecting on the challenges and hopes of the contemporary world. This section includes fiction films, documentaries, and animations.
Among the most anticipated titles are:
- “100 Litres of Gold” by Teemu Nikki is a Finnish tragicomedy mixing family rivalries and local traditions.
- “L’albero” by Sara Petraglia is a delicate Italian debut exploring the anxieties and hopes of a young generation searching for identity.
- “Bring Them Down” by Christopher Andrews is a rural drama set in Ireland, starring Christopher Abbott and Barry Keoghan, depicting the complexities of family relationships in a bucolic context.
- “Greedy People” by Potsy Ponciroli is a grotesque noir that pays homage to the Coen brothers, featuring one of their favourite actors, Tim Blake Nelson, along with Lily James and Joseph Gordon-Levitt.
A scene of “Bring Them Down” by Christopher AndrewsThe films in the competition will be evaluated by a jury of international cinema and culture professionals, who will award prizes in categories such as Best Film, Grand Jury Prize, Best Director, Best Screenplay, as well as acting awards like the Monica Vitti Award for Best Actress and the Vittorio Gassman Award for Best Actor.
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FreestyleThis non-competitive section offers a showcase for free-format and style works, from feature films to music videos and video art to television series. It celebrates creative and experimental freedom, including titles such as:
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“Arsa” by the duo MASBEDO is a film set on Stromboli that combines image and word in a unique and visually powerful narrative.
- “Grand Theft Hamlet” by Pinny Grylls and Sam Crane is a brilliant and original reinterpretation of Shakespeare’s Hamlet set within the “Grand Theft Auto” video game, blending classic theatre with pop culture.
- “Cì Xīn Qiè Gǔ (Pierce)” by Nelicia Low – A psychological thriller showcasing a complex relationship between two fencing-obsessed brothers based on a true story.
- “Ciao Bambino” by Edgardo Pistone – Another Italian debut set in the challenging Neapolitan neighbourhood of Rione Traiano, following young Attilio, tasked with protecting a young prostitute with whom he develops a secret emotional bond.
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“Marko Polo” by Elisa Fuksas – An experimental work blending cinema and autobiography, where director Elisa Fuksas confronts her family and cultural heritage, addressing personal themes like illness and relationships.
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Grand PublicDedicated to the general audience, this section presents internationally appealing films for a wide audience. Among this year’s premieres are:
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“The Dead Don’t Hurt” by Viggo Mortensen – a refined feminist western set in 19th-century America, featuring Mortensen himself and Vicky Krieps. Mortensen will receive a Lifetime Achievement Award at the film’s presentation.
- “Modì” by Johnny Depp, who will also receive a Lifetime Achievement Award at the festival. The film depicts 72 hours in the life of painter Amedeo Modigliani, played by Riccardo Scamarcio, alongside a star-studded cast including Al Pacino and Luisa Ranieri.
- “Fino alla Fine” by Gabriele Muccino – an action movie that blends thriller and existential reflection. Set in Palermo, the film follows Sophie, a young American on vacation, who becomes embroiled in a dangerous plot with a group of local friends.
- “Longlegs” by Osgood Perkins – a supernatural thriller blending investigation and horror, directed by Anthony Perkins’ son. Nicolas Cage plays a disturbing serial killer nicknamed “Longlegs” in an investigation that uncovers dark mysteries and a complex psychological plot.
- “We Live in Time” by John Crowley chronicles ten years in the life of a couple brought together by chance (or accident) with Florence Pugh and Andrew Garfield.
Andrew Garfield and Florence Pugh in “We Live in Time”4. Best of 2024This section brings together some of the season’s best films, already presented and acclaimed at major international festivals. It allows Roman audiences to see award-winning films from around the world, contributing to the global dimension of the Fest.
5. Special ScreeningsThe Special Screenings section will find out-of-competition films, tributes, and works celebrating cinema personalities and significant anniversaries. Among them is the screening of the highly anticipated “Megalopolis” by Francis Ford Coppola, which will be presented on October 14 in its Italian premiere at the Cinecittà Studios as a pre-opening event of the Fest.
6. Cinema HistoryFinally, the Cinema History section offers a selection of restored classic films, honouring directors and actors who have marked the history of the seventh art. This year, the most significant tribute will be to Marcello Mastroianni, with a series of screenings dedicated to his most iconic films and documentaries and exhibitions throughout Rome.
Pre-opening in collaboration with Alice nella CittàA special event awaits film fans with the pre-opening of the Rome Film Fest and Alice nella Città, which will take place on October 14, 2024, at the historic Cinecittà Studios. During this occasion, “Megalopolis,” the latest masterpiece by director Francis Ford Coppola, will be screened in its Italian premiere. The event will also be streamed live from the Sala Petrassi at the Auditorium Parco della Musica, allowing a wider audience to attend the presentation.
The following day, on October 15, Coppola will meet with the juries of Alice nella Città, film school students, and the public. During this meeting, the director will reflect on the highlights of his extraordinary career, sharing thoughts on cinema and future projects.
The full program is available here.
FRED Film Radio will closely follow the 19th edition of the Rome Film Fest with daily updates, exclusive red-carpet interviews, insights into competing films, and behind-the-scenes access to masterclasses with international guests. Stay tuned so you don’t miss a moment of this unmissable celebration of cinema.
The post Revealed the program of the 19th Rome Film Fest appeared first on Fred Film Radio.
In her controversial documentary “Russians at war”, the Canadian-Russian documentarist and reporter Anastasia Trofimova follows soldiers and medics on the front lines of Russia’s invasion of Ukraine.
Trofimova claims she filmed the Russian battalion over seven months without Moscow’s permission.
In the film, we see soldiers struggling with the mismanagement of the Russian armed forces. Some express doubts about the war and question their roles in it even as they proceed to follow orders and assert their patriotism.
Trofimova sais that focusing on, and humanizing Russian soldiers is a way to combat further anger and violence.
The post “Russians at war”, interview with director Anastasia Trofimova appeared first on Fred Film Radio.
Carlo Chatrian has been appointed today as the new Director of the National Museum of Cinema in Turin – Fondazione Maria Adriana Prolo. His five-year term marks an important milestone for the prestigious Turin-based institution.
The Museum’s Management Committee unanimously supported Chatrian’s appointment, recognizing his strategic vision and extensive international experience as the ideal qualifications to lead the institution in the coming years. His clear outlook on the future of the Museum, combined with his vast knowledge of the cinematic world, made him the perfect candidate for this role.
Carlo Chatrian’s Statement“I welcome this new adventure with enthusiasm,” said Carlo Chatrian. “I can’t wait to start working with the Museum staff and to support their expertise and professionalism by putting to the service of this institution, which I feel close to, the knowledge gained in years of working abroad and the passion that has always driven me.“
A Thank You to Domenico De GaetanoThe Committee expressed its heartfelt thanks to Domenico De Gaetano, the former Director, for successfully leading the Museum through complex times. De Gaetano increased visitor numbers and transformed the institution into an internationally recognized cultural hub.
Carlo Chatrian’s Career PathBorn in Turin in 1971, Carlo Chatrian built a career as a writer, journalist, and film programmer. He collaborated with prestigious film magazines and institutions in Italy and abroad. Chatrian held key positions at major festivals, including the Locarno Film Festival (2012-2018) and the Berlinale (2020-2024), becoming a leading figure in European cinema.
The National Museum of Cinema in Turin, one of the world’s most important, enters a new phase under Chatrian’s leadership. It aims to strengthen its role as a cultural hub, embracing new cinematic languages and fostering international dialogue.
The post Carlo Chatrian Appointed New Director of the National Museum of Cinema in Turin appeared first on Fred Film Radio.
At the 81st Venice International Film Festival, Justin Kurzel presents, in competition, “The Order“.
With Jude Law as lead actor and co-producer, the film is based on the book The Silent Brotherhood by Kevin Flynn and Gary Gerhardt, a chronicle of the rapid rise and fall of a group of disaffected young white men.
Producer Bryan Haas and screenwriter Zach Baylin came across this provocative story and got inspired by a real-life terror plot led by Robert Jay “Bob” Mathews, a longtime member of the neo- Nazi group Aryan Nations.
Justin Kurzel, who had impressed the producing team pair with his talent for visual storytelling in the 2021 Cannes Film Festival Palme d’Or nominee “Nitram“, was asked to direct after a conversation with lead actor and producer Jude Law.
The director points out that, even though it is a film that follows the rules of the thriller genre, “family is the theme that plays through all the characters”.
The post “The order”, interview with director Justin Kurzel and screenwriter Zach Baylin appeared first on Fred Film Radio.
“I Will Revenge The World With Love – S.Paradjanov” by Zara Jain is dedicated to the centenary of the birth of the world’s freest and most famous artist, filmmaker and incarcerated man. One of his most important messages is that, regardless of global chaos and geopolitical intrigue, we should all continue our work without becoming instruments of a harmful reality. Paradjanov’s story is proof of this truth, and for today’s artists it can serve as inspiration and guidance towards the only winning choice. we talked with the director Zara Jian and the consultant Joel Chapron, last collaborator of Paradjanov.
Interpreting the concept of freedom through Paradjanov’s artFor Zara Jian, constructing “I Will Revenge The World With Love – S.Paradjanov” was aimed at interpreting the theme of human freedom under conditions of unfreedom, when freedom is limited both by the borders of the totalitarian state and by the barbed wire surrounding the prison camp, as Paradjanov did for much of his life.
An inspiration and symbol for every generation of filmmakersIn her film, Zara Jian shows how the inspiration for creativity, inner freedom, and the use of art to fight and overcome abuse is a lesson that has taken root in the minds of many filmmakers of all generations, backgrounds and genres. In the interviews collected, which are more confessions and tributes than interviews, all or filmmakers honour Paradjanov for this, from Atom Eoyan to Emir Kusturica to Tarsem Singh.
The post “I will revenge this world with love – S. Paradjanov”, interview withe the dorector Zara Jian and consultant Joel Chapron appeared first on Fred Film Radio.
Ben Chaplin is one of the lead characters of the film “September 5” by Tim Fehlbaum, based on the media reaction and live coverage of the first ever terrorist attack to be shown on tv, at the Munich Olympics of 1972. Chaplin is the experienced producer that is the moral conscience of the team, more concerned about the people behind the news than the news itself. Ben Chaplin is also in awe of the director of the film that managed to keep the narrative tight and realistic.
A good man, at least in that situtationBen Chaplin talks about his character and even if he comes out as the thoughtful and the most grounded one, he is not sure that this was his nature. He met people and talk with former colleagues that testify he was a man with a temper, sometime rough but on this specific unexpected and unprecedented situation he showed to be able to keep calm and to look at the bigger picture.
The post “September 5”, interview with the actor Ben Chaplin appeared first on Fred Film Radio.
In “Possibility of paradise”, the Serbian Filmmaker Mladen Kovačević (“4 years in 10 minutes”, “Merry Christmas Yiwu”, “Another Spring” ) follows 7 different people at a turning phase of their life. They all have in common the fact that they live in the same country, in Indonesia, but this information is not unveiled in the film: we are supposedly in what, at a first sight, incarnates the western idea of Paradise, a tropical island. Instead, we’re in Purgatory, waiting for Paradise, and finding out that things are not what we expected.
Mladen Kovačević explains that the inspiration for the documentary comes from the Divina Commedia. The seven stories correspond to the seven circles – called “cornici”- of the Purgatory. They are introduced by a prologue in which a group of little girls at school wait for the rain to stop. They are the only characters belonging to the island and the only ones who live into the present. The others are all foreigners, following a dream, searching the perfect spot to turn a page, between what’s left and what will come next.
The post “Possibility of paradise” interview with director Mladen Kovačević appeared first on Fred Film Radio.
With the beginning of the full-scale invasion in 2022, Olha Zhurba started to film the war as archive footage. It was chaos, they were living apocalyptic times and nobody was thinking of the future.
After the Ukrainian troops liberated some of the regions and the Russians were blocked, Olha Zhurba tells that in a way, people started to adapt to the war, to continue living and resist. She also adapted: she continued to film but she started to think to what kind of film that materials could become. That’s when “Song of slow burning earth” become the idea of a film. Filming was for Olha also a way to continue to do something that was belonging to the previous life, to ground her and give a sense to daily life in times of war.
Anna, one of the main protagonists, did not hesitate to be part of the film. She trusted Olha, she felt they were the same. She says” You trust the person, and then you trust the process“.
The post “Songs of slow burning earth”, interview with the director Olha Zhurba and the protagonist Ganna Vasyk appeared first on Fred Film Radio.
In an impactful conversation, Türker Süer, the director of “Edge of Night“, Orizzonti Extra, delves into the inspiration and thematic richness of his compelling film.
Türker Süer Explores the Challenges of Family and Personal LoyaltyThe narrative centers on Sinan, a young lieutenant in the Turkish army, who faces a heart-wrenching decision when he is asked to hand over his brother Kenan to a military court. Set against the backdrop of a politically charged environment and following the tragic death of their father, the film explores the intense dynamics of brotherhood and loyalty amidst societal pressure.
From Social Anger to Family Dynamics: The Inspirations Behind Edge of NightSüer reveals that the initial impetus for the story came from a deeply troubling event he encountered involving the destruction of graves in Eastern Turkey. “I read about angry citizens knocking over tombstones, believing the deceased to be terrorists. This incident haunted me,” he explains. The mayor’s warning that such hatred could cost society its humanity resonated with Süer, igniting a desire to explore themes of anger, distrust, and the complexity of human relationships within a repressive environment. “I was intrigued by how emotional turmoil and societal pressures reflected on individuals’ lives” he notes.
The film captures the nuanced relationship between Sinan and Kenan, highlighting the struggles they face as they confront the expectations imposed upon them by their society. “Loyalty becomes a central theme in the film,” Süer states. “I wanted to examine whether it is possible to be loyal to family and to oneself in a context where conflicting loyalties arise.” This exploration is not just about the bond between brothers but also serves as a broader commentary on the societal structures that shape their realities.
The narrative unfolds in a way that immerses the audience in the psychological conflicts faced by Sinan as he grapples with his conscience while upholding his duty to his family. “It was important to portray the duality of the characters’ experiences — to highlight how external factors can complicate personal relationships,” Süer explains. This complexity adds depth to their motivations and choices, prompting the audience to empathize with the difficult dilemmas the brothers encounter.
Visual Aesthetics and Emotional Tension: The Psychological Journey of Sinan and KenanVisually, “Edge of Night” employs a striking aesthetic that amplifies the emotional intensity of the story. Süer worked closely with director of photography Matteo Cocco to create a vivid atmosphere that captures both the beauty and the tension of their surroundings. “Our goal was to reflect the internal struggles of the characters while immersing the audience in the moment,” he reveals. The lighting and composition serve as metaphors for the instability and uncertainty pervading both the familial relationships and the political climate.
As the film progresses, the tension escalates, ultimately leading to a critical moment during a coup that tests Sinan’s convictions. Süer notes, “The situation forces both brothers to confront their beliefs and decide what sacrifices they are willing to make.” This pivotal confrontation not only highlights the personal stakes for Sinan and Kenan but also reflects the broader societal issues facing individuals who must navigate their positions in a politically charged environment.
Throughout the filmmaking process, Süer focused on the authenticity of the characters’ experiences. “Casting was key to bringing the story to life” he emphasizes, noting the importance of working with actors who could embody the emotional depth of their roles. This approach allows for genuine performances that resonate with viewers and convey the film’s themes effectively.
In conclusion,”Edge of Night” serves as a poignant examination of brotherhood, loyalty, and the consequences of societal pressures. Through Türker Süer’s insightful direction and the emotions embedded in the narrative, the film invites audiences to reflect on their own experiences with loyalty, love, and the struggles faced in challenging environments.
The post “Edge of Night”, interview with Director Türker Süer appeared first on Fred Film Radio.
John Swab presented his film “King Ivory” in the Orizzonti Etra sectiomn of the Venice International Film Festival. The film is about the tragedy that is decimating the young population in the United States: the spread of fentanyl. Many films have been made on the subject, but “King Ivory” takes a different, non-judgmental, non-moral, but objective and transversal look at all the people overwhelmed by this scourge, from consumers to families to the police trying to contain it. We talked with the director John Swab and the actor James Badge Dale.
I wanted a contemporary film, almost an instant movieJohn Swab wanted to create a film that could not be seen as a thing of the past, he wanted “King Ivory” to be immediate, in the present, and very personal too. Hence the style: hand-held camera, almost reality TV, and many non-actors (real policemen, real drug dealers, real junkies).
This is a true independent filmJames Badge Dale is proud of the work he did with John Swab. for him, the character is not just a cop and not just his point of view in the film, the film is almost voyeuristic in the way we see what happens and how the stories intertwine. The film is shot in real time and this is the strength and difference with other films on the same theme.
The post “King Ivory”, interview with the director John Swab and lead actor James Badge Dale appeared first on Fred Film Radio.
Valentina Martelli is the founder and CEO of ITTV Forum, a film and tv festival that promotes Italy as a creative and innovative system for the world’s most important content market, and underlines the importance of technology in the creative and productive process for any production in the world, fostering collaborations and coproductions.
Two panels in Venice to prepare for the LA meetingsITTV Forum has organised two panels at the Venice Film Festival, to confront on important topics, in preparation to the LA meetings in November. The first one was a conversation on the topic of the Rise of Women in the TV and Film Industry. The second focused on immersive futures, with a discussion on the transformative role of immersive realities
The post Valentina Martelli, CEO of ITTV International Forum and Tech in Entertainment appeared first on Fred Film Radio.
“September 5” by Tim Fehlbaum narrates the days of the terroristic attack to the Munich Olympics, from the point of view of the sport tv crew that was forcibly the first ever to face a situation like this on tv. That day marked a turning point for television and for the way and rules of showing news on TV. With a fast-paced, almost reality TV rhythm, the film also tackles this issue from the personal and moral point of view of the producer of the TV programme and the reporters.
The form of the film was born out of a conversationTim Fehlbaum says that “September 5” as we see it was born out of a conversation he had with Geoff Mason, the editor-in-chief who was in the studio in Munich on that day in 1972, and how they had to deal with those 22 incredible and tragic hours.
A single space and place help hold the narrative tensionFor Tim Fehlbaum, the point of view of the TV crew was the best to use for storytelling: a single space in which all the action unfolds automatically creates a superior rhythm and narrative tension; in addition, working in the media world made it easier for him to be at ease and be certain of the veracity of what he was telling.
The post “September 5”, interview with the director Tim Fehlbaum appeared first on Fred Film Radio.
After premiering the first chapter in Cannes, Kevin Costner is at the 81st Venice Film Festival with “Horizon: An American Saga – Chapter 2″.
Presented out of competition, “Horizon” is the story Costner have been dreaming to direct since 1988 when he first thought about it.
At the heart of the saga is the story of the great migration across America. The struggles, determination and perseverance of those first settlers into that promise of hope and the opportunity for a new future.
The director reveals how he had always planned for the saga to be presented in each chapter, to a big festival as the fest audience has always been the best at understanding such a project.
Venice Film Festival was the festival he presented “Fandango” to and while the American audience did not fully embraced the film, the cinephile crowd in Venice was stunned and gave the film its heart.
What are the elements distinguishing Costner’s western saga from other films of the same genre? Costner doesn’t hesitate when answering : “I think movies are at their best when you see characters you can relate to. What’s unusual about this Western is that in all the storylines women are at the center”
The post “Horizon: An American Saga – Chapter 2”, interview with director Kevin Costner appeared first on Fred Film Radio.
Bernhard Wenger‘s film “Peacock“, in competition at the Venice International Festival Critics’ Week, is an acidic, marauding comedy about appearing, adapting to please others, sacrificing one’s personality and losing oneself. The director talks with Fred Radio about it, form the inspiration to the meanings that he wanted to convey.
The European adaptation of a very common Japanese realityBernhard Wegner was inspired for “Peacock” by an encounter with a man working for a friend-rental agency in Japan, who suffered a personality disorder as he could no longer recognise himself amidst the thousands of personas he had to take on for work. From this tragic personal story comes the fierce satire of the film.
The protagonist’s life outside reality is also reflected in the aesthetics of the filmThe aesthetic choice for the film that Bernhard Wenger decided on, together with his d.o.p., was that of hyper-realism and cold perfection, which the protagonist always carries within himself (so much so that he is inept and passive in his private life) and which he transports into the fictitious lives of his characters, so much that defines him forever.
The post “Peacock”, interview with the director Bernhard Wenger appeared first on Fred Film Radio.
Welcome to our daily insights from the 27 Times Cinema.
The 2024 edition of 27 Times Cinema will bring together ten former participants to serve as the jury for the GdA Director’s Award, marking the tenth anniversary of this accolade.
Together with their jury president, these former 27 Times Cinema participants will evaluate the films in competition with a fresh perspective, informed by their diverse experiences across various film-industry fields.
The post 8min of 10 27 Times Cinema – Isabella Weber – 4th September appeared first on Fred Film Radio.
Welcome to our daily insights from the 81. Venice International Film Festival.
Join us as we dive into exclusive interviews with filmmakers, actors, and festival insiders, uncovering the stories behind the most anticipated films.
Stay tuned for festival highlights, red carpet moments, and behind-the-scenes glimpses that you won’t want to miss.
Whether you’re a film buff or just curious, we’ve got all the excitement from Venice right here!
The post Venice Film Festival English Daily – 4th September appeared first on Fred Film Radio.
Global Critics Venice VoiceEvery day from the Venice Lido, Rita Di Santo hosts in the studios of FRED Film Radio several critics from all over the world talking about this year’s Venice festival movies, the actors and actresses attending the festival, as well as takes you into the magical atmosphere of the Venice Film Festival.
The post Highlights and film critics from the 81th Venice Film Festival – episode 4/09 appeared first on Fred Film Radio.
Interview during the 81st edition of Venice International Film Festival with Athina Rachel Tsangari, director of the film “Harvest”, and actor Caleb Landry Jones. The production, in competition in Venice Film Festival 2024, is an adaptation of the novel from author Jim Crace.
In their interview with FRED Film Radio, our guests told us thay they didn’t want to deliver a message to the audience, although they think that the movie talks about the lack of action that human beings show in facing threats against their way of life. The director revealed that Landry Jones was wearing the same boot he wore in the film during the interview.
“Harvest” takes us to a remote village -located in an unknown place, living in an undefined time- in which peasants live freely and enjoy their connection with nature. Suddenly a group of strangers arrive and they face the threat of an invasion. Alongside that, a mysterious man tries to draw a map of the land.
The Harvest – Athina Rachel Tsangari and Caleb LAndry JonesThe post “Harvest”, interview with director Athina Rachel Tsangari and actor Caleb Landry Jones appeared first on Fred Film Radio.
Welcome to our daily insights from the 27 Times Cinema.
The 2024 edition of 27 Times Cinema will bring together ten former participants to serve as the jury for the GdA Director’s Award, marking the tenth anniversary of this accolade.
Together with their jury president, these former 27 Times Cinema participants will evaluate the films in competition with a fresh perspective, informed by their diverse experiences across various film-industry fields.
The post 8min of 10 27 Times Cinema – Esmée van Loon – 3rd September appeared first on Fred Film Radio.
The Venice Production Bridge day in 4 minutes!
Welcome to our Venice Production Bridge Daily Snapshot, your quick 4-minute update on the latest happenings at the industry hub of the Venice Film Festival!
Join us as we delve into the world of film financing, co-productions, and market trends, bringing you exclusive insights, interviews with industry professionals, and behind-the-scenes highlights, all packed into a brief but informative segment.
Whether you’re a film professional or an enthusiast, stay connected with the pulse of the Venice Production Bridge right here!
The post The Venice Production Bridge day in 4 minutes – 03/09 appeared first on Fred Film Radio.
Welcome to our daily insights from the 81. Venice International Film Festival.
Join us as we dive into exclusive interviews with filmmakers, actors, and festival insiders, uncovering the stories behind the most anticipated films.
Stay tuned for festival highlights, red carpet moments, and behind-the-scenes glimpses that you won’t want to miss.
Whether you’re a film buff or just curious, we’ve got all the excitement from Venice right here!
Venice Film Festival English Daily – Gaetano MaiorinoThe post Venice Film Festival English Daily – 3nd September appeared first on Fred Film Radio.
Interview during the 81st edition of Venice International Film Festival with Tilda Swinton and Julianne Moore, actresses in the film “The Room Next Door”. This movie by Pedro Almodóvar, in competition in Venice Film Festival 2024, tells us about the friendship of two women that face death and the influence of the past in their future choices.
In their interview with FRED Film Radio, Swinton and Moore speak about how Pedro Almodóvar shoots his films. They got along really well and were very surprised about the velocity of the Spanish director’s work. Our interviewees think that American audiences are going to welcome Almodóvar’s first feature film in English.
“The Room Next Door”, by the renowned author of “Women at the Verge of a Nervous Breakdown” or “Talk to Her”, that supposed for him a triumph at the Oscars, is going to be released in Spain next October, and will be present in San Sebastián and New York Film Festival, where will figure as centerpiece.
The post “The Room Next Door”, interview with actresses Tilda Swinton and Julianne Moore appeared first on Fred Film Radio.
Welcome to our daily insights from the 27 Times Cinema.
The 2024 edition of 27 Times Cinema will bring together ten former participants to serve as the jury for the GdA Director’s Award, marking the tenth anniversary of this accolade.
Together with their jury president, these former 27 Times Cinema participants will evaluate the films in competition with a fresh perspective, informed by their diverse experiences across various film-industry fields.
The post 8min of 10 27 Times Cinema – David Bakum – 2nd September appeared first on Fred Film Radio.
Welcome to our daily insights from the 81. Venice International Film Festival.
Join us as we dive into exclusive interviews with filmmakers, actors, and festival insiders, uncovering the stories behind the most anticipated films.
Stay tuned for festival highlights, red carpet moments, and behind-the-scenes glimpses that you won’t want to miss.
Whether you’re a film buff or just curious, we’ve got all the excitement from Venice right here!
Venice Film Festival English Daily – Steven RaphaelThe post Venice Film Festival English Daily – 2nd September appeared first on Fred Film Radio.
Welcome to our daily insights from the 81. Venice International Film Festival.
Join us as we dive into exclusive interviews with filmmakers, actors, and festival insiders, uncovering the stories behind the most anticipated films.
Stay tuned for festival highlights, red carpet moments, and behind-the-scenes glimpses that you won’t want to miss.
Whether you’re a film buff or just curious, we’ve got all the excitement from Venice right here!
Angelo Acerbi for the English Daily program from the 81. Venice International Film Festival!The post Venice Film Festival English Daily – 1st September appeared first on Fred Film Radio.
Welcome to our daily insights from the 27 Times Cinema.
The 2024 edition of 27 Times Cinema will bring together ten former participants to serve as the jury for the GdA Director’s Award, marking the tenth anniversary of this accolade.
Together with their jury president, these former 27 Times Cinema participants will evaluate the films in competition with a fresh perspective, informed by their diverse experiences across various film-industry fields.
The post 8min of 10 27 Times Cinema – Gregor Valentovic – 1st September appeared first on Fred Film Radio.
The Venice Production Bridge day in 4 minutes!
Welcome to our Venice Production Bridge Daily Snapshot, your quick 4-minute update on the latest happenings at the industry hub of the Venice Film Festival!
Join us as we delve into the world of film financing, co-productions, and market trends, bringing you exclusive insights, interviews with industry professionals, and behind-the-scenes highlights, all packed into a brief but informative segment.
Whether you’re a film professional or an enthusiast, stay connected with the pulse of the Venice Production Bridge right here!
The post The Venice Production Bridge day in 4 minutes – 01/09 appeared first on Fred Film Radio.
The Venice Production Bridge day in 4 minutes!
Welcome to our Venice Production Bridge Daily Snapshot, your quick 4-minute update on the latest happenings at the industry hub of the Venice Film Festival!
Join us as we delve into the world of film financing, co-productions, and market trends, bringing you exclusive insights, interviews with industry professionals, and behind-the-scenes highlights, all packed into a brief but informative segment.
Whether you’re a film professional or an enthusiast, stay connected with the pulse of the Venice Production Bridge right here!
The post The Venice Production Bridge day in 4 minutes – 31/08 appeared first on Fred Film Radio.
Interview during the 81st edition of Venice International Film Festival with Paprika Steen and Nikolaj Lie Kaas, actors in the series “Families like ours”. The production by Thomas Vinterberg, out of competition in the Series section, tells how the Danish Goverment decides to evacuate the whole country because of the risk of a great flood. In that context, a family tries to make the right decissions.
In their interview with FRED Film Radio, Steen and Kaas tell us that playing a role in a television series is not very different that a job in a movie. They depict Vinterberg as a director that can detect the truth in the members of his cast, and confirm that every actor in Denmark wants to work with him.
“Families like ours” reunites the Academy Award winner –with “Another round“– with Steen, 25 years after “Celebration“. The series deals with the topics of climate change, immigration and the moral debate that every individual must face in front of such a lifetime crisis.
The post “Families like ours”, interview with actors Paprika Steen and Nikolaj Lie Kaas appeared first on Fred Film Radio.
Welcome to our daily insights from the 27 Times Cinema.
The 2024 edition of 27 Times Cinema will bring together ten former participants to serve as the jury for the GdA Director’s Award, marking the tenth anniversary of this accolade.
Together with their jury president, these former 27 Times Cinema participants will evaluate the films in competition with a fresh perspective, informed by their diverse experiences across various film-industry fields.
The post 8min of 10 27 Times Cinema – Victor Courgeon – 31th August appeared first on Fred Film Radio.
Interview during the 81st edition of Venice International Film Festival with Sophie Wilde, actress in “Babygirl“. The movie, in competition for the Golden Lion, tells the story of a businesswoman – played by Nicole Kidman– that starts a relationship submission with an intern, played by Harris Dickinson. Sophie Wilde plays one of Kidman’s colleagues at work, that warns her about this situation.
Our interview with Sophie Wilde addresses the presence of the film in Venice and how was it shooting such powerful scenes alongside Nicole Kidman. She also talks to FRED about the momentum of her career: she has starred in Danny Philipou and Michael Philipou‘s “Talk to me” and the miniseries “Tom Jones“.
As we explained, in “Babygirl” a high-power CEO puts her career and family at risk when she begins this torrid affair with her newest intern. Her marriage to a successful theatre director (Antonio Banderas) is at stake. Sophie Wilde discusses how much sacrifice women in power must endure in order to maintain their jobs and fulfill their wishes.
The post “Babygirl”, interview with the actress Sophie Wilde appeared first on Fred Film Radio.
Welcome to our daily insights from the 81. Venice International Film Festival.
Join us as we dive into exclusive interviews with filmmakers, actors, and festival insiders, uncovering the stories behind the most anticipated films.
Stay tuned for festival highlights, red carpet moments, and behind-the-scenes glimpses that you won’t want to miss.
Whether you’re a film buff or just curious, we’ve got all the excitement from Venice right here!
The post Venice Film Festival English Daily – 31th August appeared first on Fred Film Radio.
Welcome to our daily insights from the 27 Times Cinema.
The 2024 edition of 27 Times Cinema will bring together ten former participants to serve as the jury for the GdA Director’s Award, marking the tenth anniversary of this accolade.
Together with their jury president, these former 27 Times Cinema participants will evaluate the films in competition with a fresh perspective, informed by their diverse experiences across various film-industry fields.
The post 8min of 10 27 Times Cinema – Dimosthenis Kontes – 30th August appeared first on Fred Film Radio.
Global Critics Venice VoiceEvery day from the Venice Lido, Rita Di Santo hosts in the studios of FRED Film Radio several film critics who will comment on the films in Competition and Out of Competition, the actors and actresses attending the festival, as well as take you into the magical atmosphere of the Venice Film Festival.
The post Highlights and film critics from the 81th Venice Film Festival – episode 30/08 appeared first on Fred Film Radio.
Welcome to our daily insights from the 81. Venice International Film Festival.
Join us as we dive into exclusive interviews with filmmakers, actors, and festival insiders, uncovering the stories behind the most anticipated films.
Stay tuned for festival highlights, red carpet moments, and behind-the-scenes glimpses that you won’t want to miss.
Whether you’re a film buff or just curious, we’ve got all the excitement from Venice right here!
The post Venice Film Festival English Daily – 30th August appeared first on Fred Film Radio.
“Beetlejuice Beetlejuice“, opening film of the 81st Venice International film festival, reunites on the big screen the Deetz family: Oscar nominee Winona Ryder (“Stranger Things“, “Little Women“) as Lydia Deetz and two-time Emmy winner Catherine O’Hara (“Schitt$ Creek“, “The Nightmare Before Christmas“) as Delia Deetz.
With Michael Keaton returning to his iconic role, the film adds new cast members like Justin Theroux (“Star Wars: Episode VIII – The Last Jedi“, “The Leftovers“).
Winona Ryder admits: “There’s so much heart in this movie and it’s a walk through this Garden of imagination that is Tim’s brain”.
“Going back made us feel that our characters actually existed” reflects Catherine O’Hara when talking about her feelings in playing Delia Deetz again since 1988.
“Beetlejuice Beetlejuice” will come out in cinemas on September 5th, 2024.
The post “Beetlejuice Beetlejuice”, interview with actors Winona Ryder, Catherine O’Hara and Justin Theroux appeared first on Fred Film Radio.
Oscar-nominated, singular creative visionary Tim Burton and Oscar nominee and star Michael Keaton reunite for “Beetlejuice Beetlejuice“, the long-awaited sequel to Burton’s award-winning “Beetlejuice“.
“Beetlejuice Beetlejuice“ is the opening film of the 81st Venice International Film Festival and besides reuniting the demon Beetlejuice with Lydia (Winona Ryder) and Delia (Catherine O’Hara) Deetz, it welcomes new characters and new cast members.
In this new adventure, Lydia has a rebellious teenage daughter, Astrid, played by Jenna Ortega, Burton’s “Wednesday“ on Netflix.
Tim Burton explains that he talked a lot over the years with Michael Keaton about doing the sequel but it was never the right time. And then it happened. Michael Keaton reveals that he wasn’t expecting the film to be so emotional and to have so much heart.
Finally, Jenna Ortega describes the beauty of imperfections in the making of the film and how the film can connect to the younger generations, as the first one did with the “Burtonian” adults of today.
The post “Beetlejuice Beetlejuice”, interview with director Tim Burton and actors Michael Keaton and Jenna Ortega appeared first on Fred Film Radio.
Sigourney Weaver is the recipient of the Golden Lion for Lifetime Achievement at the 81st Venice Film Festival. Angelo Acerbi had a conversation with the actress of the “Alien” franchise, “Ghostbusters” and “Working Girl”, and many more, about the meaning of such an award and the job of being an actress.
Many genres, never been pigeonholed in oneEven if she is known for her science fiction roles, Sigourney Weaver managed to navigate all genres, from blockbusters to small indie movies. She tells how, and why. And talks about a movie she loves a lot, “Prayers For Bobby”.
An audition for “Ghostbusters” with an unusual outcome Let’s find out from Sigourney Weaver‘s own voice how the ending fo “Ghostbusters” came from an unusual audition she did for the role she landed.
The post Sigourney Weaver, Golden Lion for Lifetime Achievement appeared first on Fred Film Radio.
Welcome to our Venice Production Bridge Daily Snapshot, your quick 4-minute update on the latest happenings at the industry hub of the Venice Film Festival!
Join us as we delve into the world of film financing, co-productions, and market trends, bringing you exclusive insights, interviews with industry professionals, and behind-the-scenes highlights, all packed into a brief but informative segment.
Whether you’re a film professional or an enthusiast, stay connected with the pulse of the Venice Production Bridge right here!
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In a revealing interview, Deepak Rauniyar, the director of “Pooja, Sir,” discusses the intricate personal and social inspirations behind his film in the section Orizzonti, which is deeply rooted in his own experiences with discrimination in Nepal. Rauniyar describes “Pooja, Sir” as a “product of love,” referencing his previous work, “White Sun,” which tackled the aftermath of the civil war in Nepal. This new film continues this thematic exploration, delving into the lived experiences of marginalized communities and the urgent need for dignity and recognition.
Setting the Film Against Historical ProtestsRauniyar shares that he intentionally set “Pooja, Sir” in the same locations where significant protests occurred during the political upheaval of history in 2007 and 2015.
During these demonstrations, hundreds of thousands of people took to the streets to demand federalism and equal rights, risking their lives for the basic necessities of dignity and justice. By anchoring his film in these real-life events, Deepak Rauniyar underscores the importance of storytelling in fostering empathy and understanding among different communities.
Collaboration and Diverse PerspectivesCollaboration plays a crucial role in Rauniyar‘s process. His partnership with Asha Magratti, who contributed significantly to the film, adds depth to the narrative. They come from different backgrounds, with Magratti identifying as part of a light-skinned community while Rauniyar aligns himself with populations that face discrimination. This difference enriches the storytelling, as they seek to convey a message that transcends their individual experiences. Rauniyar emphasizes that much of the film’s narrative is inspired by both their lives, showcasing how gender inequality and societal norms have impacted them personally and collectively.
Portrayal of Women and Gender DisparityOne of the central themes of “Pooja, Sir” is the portrayal of women in Nepal. Rauniyar highlights how uneven representation in films and media often neglects the struggles that women face daily. He reflects on Asha’s encounters with gender disparity during her upbringing, noting how she was denied the same educational opportunities as her brother, who received preferential treatment. This dynamic mirrors broader societal views in Nepal, where gender roles are rigidly defined, often preventing women from realizing their potential.
Through the character of Asha, Rauniyar passionately depicts the challenges faced by women trying to navigate their identities and roles in a patriarchal society. Despite her aspirations to be viewed as a “son” following the loss of her brother, Asha was continually met with resistance and discrimination. Rauniyar notes that these struggles are not just individual stories; they reflect systemic issues deeply entrenched within their culture.
Addressing Marginalization and StereotypesThe filmmaker intricately weaves these themes into “Pooja, Sir,” showcasing a society where misunderstandings lead to discrimination. Rauniyar articulates the belief that people from more privileged communities often view marginalization through the lens of stereotypes and propaganda, failing to grasp the realities faced by others. He hopes that by engaging audiences with these narratives, they will develop empathy and reconsider their perceptions of marginalized groups.
To ensure authenticity in “Pooja, Sir,” Rauniyar dedicated significant time to research, conducting interviews over several years with various individuals, including police officers. This extensive groundwork informs the film’s representation of social issues, grounding it in the realities of lived experiences. While some elements of the film are fictionalized for narrative effect, Rauniyar insists that the heart of the story remains embedded in true events and personal histories.
In conclusion, Deepak Rauniyar frames “Pooja, Sir” as a cinematic endeavor that goes beyond mere storytelling; it’s an exploration of empathy, identity, and social justice. By giving voice to the disenfranchised and challenging societal norms, the film aims to resonate with audiences not just in Nepal but globally. Rauniyar’s vision is to use cinema as a transformative tool that can spark conversations about discrimination, equality, and the complexities of human experience. For those intrigued by these themes, “Pooja, Sir” promises to be a thought-provoking film that encourages viewers to reflect upon their own perceptions of identity and social justice.
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At the 81th Venice Film Festival, Fred Film Radio interviewed Sandra Maischberger, the producer of “Riefenstahl”, a documentary directed by Andres Veiel featured Out of Competition. A fascinating look into the private archive of Leni Riefenstahl, who rose to world fame with her Nazi propaganda film “Triumph of the Will”, but who always denied any close ties to the regime.
Why a documentary about Leni Reifenstahl?It’s incredible how Leni Riefenstahl, what she represents and her work are more relevant today than ever. And how his figure remains an enigma for a long time, especially due to his connection with Nazism which he tried to minimize for years. “Leni Riefenstahl died many years ago, but her husband passed away in 2017, and there was this house full of documents, films, tapes, whatever she left behind”, tells Sandra Maischberger. “And I knew that I could get a hold on this estate. I met her many years ago doing an interview, and I could feel that she was lying. But now with the estate, I can prove it”.
Andres Veiel, the right man to tell this storyLots of archive material to deal with and a complex figure to tell in all its complex nuances. Why is Andres Veiel the right person to direct “Riefenstahl”? “For two main reasons. First, he did Beuys, which is a brilliant documentary about Josefh Beuys, an artist. And already there he had to cope with a lot of material, with a lot of things which are not moving, papers and evidence and so on. And he did it brilliantly, and I thought he’s the best choice for this film. And then secondly, you deal with Leni Riefenstahl. She is a master director and created images which are still prevailing today. So you cannot just put someone to make a simple documentary telling the story. It must be an artwork by itself”.
A crucial moment of our historyFrom the United States to Europe far right movements have found fertile ground in the last few years also because of the many Riefenstahl of the world? “That was one of the questions we had to answer because her aesthetics is still here”, tells Sandra Maischberger . “The question we had to answer is, if the aesthetic is here, maybe as well the ideas behind it. So are we facing a time where fascism, nationalism, imperialism is coming back? And this is my feeling about the time we’re living in. I think that we are in a crucial moment of history and I don’t want to go back to where we already have been looking at Leni Riefenstahl and what the Nazis did. So it’s a film about a historical person but at the same time it’s a film about what’s going on, what could become in the future for us, in Europe especially”.
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Welcome to our daily insights from the 27 Times Cinema.
The 2024 edition of 27 Times Cinema will bring together ten former participants to serve as the jury for the GdA Director’s Award, marking the tenth anniversary of this accolade.
Together with their jury president, these former 27 Times Cinema participants will evaluate the films in competition with a fresh perspective, informed by their diverse experiences across various film-industry fields.
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At the 81 Venice Film Festival, Fred Film Radio interviewed Andres Veiel, the director of “>Riefenstahl”, featured Out of Competition. A fascinating look into the private archive of Leni Riefenstahl, who rose to world fame with her Nazi propaganda film “Triumph of the Will”, but who always denied any close ties to the regime.
A detective storyWhen watching “Riefenstahl” you have the impression of watching a detective story. Did Andres Veiel feel like a detective called to solve a puzzle while working on the production of the documentary? “I think it’s the right approach for it because it gave hundreds of traces and you have to decide: ‘Okay, we follow up this trace’. And then we find another trace and then we find a proof or something. So it was like a puzzle and in the end we could create a very intimate close portrait of a fascist artist”.
Leni Riefenstahl: the director of her own lifeTo make “Riefenstahl”, Andres Veiel had to use a lot of material cataloged by the director herself. In doing so he realized that some passages of his life had been deliberately modified by Riefenstahl herself, becoming the director of her own life. “For us it was very important to understand more, not just accusing her of being a perpetrator – what she was, of course – but to understand how she became a Nazi fascist artist. And we have to go back to her youth. We could find a lot of testimonies, little notes telling about the violence of her father and violence of other men she experienced. Now, of course, this is not an excuse for her guilt, but we have to be precise, to understand her, but not to exonerate her or not to discharge her from the guilt. And this was a balance, like a title for her. We had to balance both sides. It’s very important to get a deeper insight of her character”.
Is Riefenstahl’s cinematic gaze dangerous today?In a society where right-wing political movements have found new fertile ground and where failure is not allowed, is Leni Riefenstahl’s cinematic gaze dangerous today? “When you watch footage from military parades in Russia you can discover the aesthetics of Riefenstahl. A lot is present. And also the ideology by celebrating the strongness, the male heroism, and with the contempt of the weak. That’s the ideology of fascism. And when you think about fakeness, for example, Riefenstahl is the prototype of fakeness. And it’s so present. We have a lot of politicians that just repeat lies, and the longer they repeat the lies, they really are convinced it’s the truth. And many people believe it. When you look at Riefenstahl, you will understand how fakeness is produced, and why there’s a longing for fakeness. People need them. People need lies, and that’s horrifying”.
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Welcome to our daily insights from the 81. Venice International Film Festival.
Join us as we dive into exclusive interviews with filmmakers, actors, and festival insiders, uncovering the stories behind the most anticipated films.
Stay tuned for festival highlights, red carpet moments, and behind-the-scenes glimpses that you won’t want to miss.
Whether you’re a film buff or just curious, we’ve got all the excitement from Venice right here!
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Global Critics Venice VoiceEvery day from the Venice Lido, Rita Di Santo hosts in the studios of FRED Film Radio several film critics who will comment on the films in Competition and Out of Competition, the actors and actresses attending the festival, as well as take you into the magical atmosphere of the Venice Film Festival.
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Alain Delon in “La Piscine”Alain Delon, the enigmatic and undeniably handsome star of French cinema, passed away at 88. Known for his smouldering presence and captivating performances, Delon was a cornerstone of European cinema in the 1960s and 1970s, working with some of the most revered directors. His death marks the end of an era in film history, as he leaves behind a legacy that has profoundly influenced the French and international film industries.
The Rise of a Cinematic IconBorn on November 8, 1935, in Sceaux, France, Alain Delon’s early life was marked by instability. After his parents divorced, Delon’s rebellious nature saw him expelled from multiple schools. Later, a brief stint in the French Navy during the First Indochina War resulted in a dishonourable discharge. Yet, these turbulent beginnings shaped the raw intensity he would bring to his acting career.
Delon’s break into the film industry was serendipitous. In 1957, he was discovered by a talent scout at the Cannes Film Festival. Soon after, he received offers from Hollywood but chose to remain in France, where he began working with renowned directors like René Clément and Yves Allégret. His first significant role came in Clément’s “Plein Soleil” (“Purple Noon”) in 1960, where Delon’s portrayal of Tom Ripley, a cunning and murderous conman, captivated audiences and critics alike. His performance in this film would set the tone for the brooding, complex characters for which he would become famous.
Alan Delon in “Rocco and His Brothers”Collaborations with Great DirectorsThe 1960s and 1970s were the golden years of Alain Delon’s career. During this time, he collaborated with some of Europe’s most acclaimed filmmakers, solidifying his status as an international star. In 1960, Delon starred in Luchino Visconti’s “Rocco and His Brothers,” a film showcasing his ability to convey vulnerability and strength simultaneously. His performance as Rocco, a young man caught between loyalty to his family and his desires, was hailed as one of his best.
Visconti and Delon would collaborate again in 1963 on “Il Gattopardo” (“The Leopard”), where Delon played the dashing Tancredi opposite Burt Lancaster. This film, an epic tale of a Sicilian prince’s struggle to preserve his family and fortune during the Italian unification, further cemented Delon’s reputation as a leading man with depth and charisma.
Alan Delon in “Le Samouraï”Jean-Pierre Melville, the godfather of the French New Wave, also recognized Delon’s unique talent. Melville cast him as the stoic hitman Jef Costello in “Le Samouraï” (1967), a role that became one of Delon’s most iconic. His portrayal of Costello, a cold and calculated assassin, remains a defining moment in his career, blending elements of film noir with a distinctly European sensibility. Delon and Melville would continue their successful partnership in films like “Le Cercle Rouge” (1970) and “Un Flic” (1972), further exploring themes of isolation, loyalty, and moral ambiguity.
A Star Beyond BordersWhile Delon’s fame was primarily rooted in Europe, he also attempted to conquer Hollywood. However, despite his undeniable talent and good looks, he never achieved the same success in the United States as in France. His first American film, “The Yellow Rolls-Royce” (1964), performed moderately well at the box office. Still, his other ventures, including “Once a Thief” (1965) and “Texas Across the River” (1966), failed to make a significant impact.
Despite this, Delon remained a beloved figure in international cinema, particularly in Japan, where he was regarded as a Western star. His collaboration with Japanese actor Toshiro Mifune in “Red Sun” (1971) is a testament to his broad appeal and versatility.
Charles Bronson, Alain Delon, Ursula Andress and Toshiro Mifune in “Red Sun”The Complex Persona of Alain DelonAlain Delon’s on-screen personas often mirrored his real-life complexities. Known for his striking good looks, Delon was frequently compared to other male icons like James Dean and Paul Newman. However, his beauty carried a sense of mystery and danger, elements often highlighted in his roles as gangsters, assassins, and morally ambiguous characters.
Off-screen, Delon was no stranger to controversy. His involvement in the unsolved murder of his bodyguard, Stevan Markovic, in 1968 brought about a scandal that rocked French society. Although Delon was never charged, the case remains a dark chapter in his life. Additionally, his outspoken views on various social and political issues, including statements that were perceived as homophobic and racist, added to his complex and often polarizing public image.
Despite these controversies, Delon’s contributions to cinema cannot be understated. In 1984, he was awarded the César for Best Actor for his role in Bertrand Blier’s “Notre Histoire,” in which he played a middle-aged alcoholic searching for redemption. This recognition came late in his career, but it was a fitting tribute to an actor who had given so much to the art form.
Alain Delon
Copyright: (c)2017 Lucian Nuta PhotographyA Life Marked by Passion and TurbulenceAlain Delon‘s personal life was as intense and dramatic as the characters he portrayed on screen, defined by a series of passionate and often tumultuous relationships. His first significant love was the German actress Romy Schneider, whom he met in 1958 on the set of the film “Christine.” Their romance captivated the public, and they became one of Europe’s most famous couples. Despite their engagement, the relationship ended in 1963, reportedly due to Delon’s infidelity. Despite their split, both actors continued to speak fondly of each other, with Schneider’s tragic death in 1982 profoundly affecting Delon.
Following his split with Schneider, Delon had several high-profile relationships, including a notable affair with French actress Nathalie Delon. The two married in 1964 and had a son, Anthony Delon. However, their marriage was short-lived, ending in divorce in 1969.
Delon’s later relationships included a long-term romance with Mireille Darc, another iconic French actress from the late 1960s until the early 1980s. Darc, often described as Delon’s “soulmate,” remained a significant figure in his life even after their separation. In the following years, Delon also had relationships with model Rosalie van Breemen, with whom he had two children, Anouchka and Alain-Fabien, and the renowned French-Italian singer Dalida.
A Lasting LegacyAlain Delon’s influence on cinema is undeniable. His work has inspired generations of actors and filmmakers, and his films continue to be celebrated for their style, substance, and emotional depth. Even in his later years, Delon remained a figure of fascination and respect. In 2019, he was awarded an honorary Palme d’Or at the Cannes Film Festival, recognizing his enduring impact on the film world.
Delon’s legacy also lives on through his children, Anthony, Anouchka, and Alain-Fabien, who were by his side in his final moments. In recent years, Delon had suffered from declining health, including a stroke in 2019, but he remained a towering figure in the world of cinema until the very end.
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At the Locarno Film Festival, Fred Film Radio interviewed Ramon and Silvan Zürcher, the director and producer of “The Sparrow in the Chimney”, featured in the International Competition. This film marks the conclusion of their Animal Trilogy, a series that delves into family dynamics with a unique blend of lightness and darkness.
The animal trilogy
The Zürcher brothers began their Animal Trilogy with “The Strange Little Cat” in 2013, followed by “The Girl and the Spider“. “The Sparrow in the Chimney” concludes this thematic journey. “We saw that these three films are like siblings,” Ramon explains. The trilogy explores formal and thematic contrasts, such as the interplay between static and dynamic elements, a recurring motif throughout their work. In this final instalment, the film evolves from the static portrayal of family life into a story of liberation, both thematically and in the movement of the camera.
Themes of liberation“The Sparrow in the Chimney” portrays a family navigating dysfunction, with the story gradually unfolding into a fairytale-like liberation. The presence of animals, particularly those capable of flight, symbolizes this theme. Silvan notes, “These animals are important for the liberation story,” emphasizing the symbolic role of sparrows, butterflies, and fireflies.
Collaborative processAs brothers, Ramon and Silvan Zürcher have a dynamic working relationship. Silvan Zürcher describes their collaboration as fluid, with roles shifting depending on the project. While Ramon Zürcher directed and wrote “The Sparrow in the Chimney“, Silvan produced it, maintaining a partnership that allows for open conflict and resolution. “We speak out our disagreements,” says Silvan, likening their creative disputes to a catalyst that propels the project forward.
Character developmentKaren, the film’s central character, embodies the film’s exploration of transformation. Ramon Zürcher designed her as two distinct characters: the first Karen, static and reserved, contrasts sharply with the second, more liberated Karen. This duality is mirrored in the film’s overall structure, which moves from order to chaos, reflecting Karen’s internal journey.
Contrasts in setting and styleThe Zürcher brothers are drawn to contrasts, both in character dynamics and cinematic techniques. They juxtapose a serene, idyllic setting with underlying tensions and dark, passive-aggressive family interactions. The film’s contrast between light and darkness, order and chaos, mirrors the characters’ psychological landscapes, creating a rich, layered viewing experience.
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At the Locarno Film Festival, Fred Film Radio spoke with director Laurynas Bareiša about his film “Drowning Dry”, which is in competition at the festival. The film centres around a family vacation that takes a dark turn after a near-tragic event, exploring themes of trauma and its lingering effects.
Exploring trauma and its aftermath“Drowning Dry” draws from Laurynas Bareiša‘s personal experience with his child, who nearly choked in a close call that left a lasting impact. “Even though nothing happened, that ‘nothing’ is still an event,” Bareiša explains. He wanted to delve into how an almost tragedy can subtly yet profoundly alter relationships and self-perception. The film uses this concept to explore how people grapple with the emotional ripples of events that didn’t fully materialize.
Symbolism of Dry DrowningThe title “Drowning Dry” works on both literal and metaphorical levels. In the film, one of the characters almost drowns, leading to a condition that mirrors the emotional state of the other characters. “It’s a metaphor for relationships,” Laurynas Bareiša says, highlighting how couples and individuals can appear fine on the surface but are silently struggling, “drowning” in their inability to communicate or connect. The metaphor extends to societal issues, such as overconsumption and environmental disregard, illustrating how people continue harmful behaviors despite knowing the consequences.
Challenging the audienceLaurynas Bareiša is committed to challenging his audience, believing that cinema should provoke thought and evoke new emotions. “You have this one and a half hours with the audience; it’s valuable time,” he notes. His goal is to create a film experience that can’t be easily reduced to simple explanations but instead leaves a lasting impression, even if it’s uncomfortable. He emphasizes the power of cinema to merge narrative, structure, visuals, and sound into something uniquely impactful.
Cultural and linguistic challengesAs a Lithuanian filmmaker, Laurynas Bareiša faces challenges in maintaining his cultural identity while reaching an international audience. Originally titled Seses, “sisters” in Lithuanian, the film was renamed“Drowning Dry” for its international release to better convey its layered themes. “Through translation, you lose some things, but you can also gain something,” he explains, acknowledging the complexities of presenting a culturally specific story to a global audience.
Laurynas Bareiša‘s “Drowning Dry” is a thought-provoking exploration of trauma, memory, and the hidden struggles within relationships. By drawing from personal experience and challenging both himself and his audience, Bareiša has crafted a film that resonates on multiple levels, leaving viewers with much to ponder long after the credits roll.
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At the Locarno Film Festival, FRED Film Radio caught up with actress Callie Hernandez and director Courtney Stephens to discuss their film Invention, which is showcased in the Cineasti del Presente section. The film, an experimental fiction piece, delves into the complexities of grief following the loss of a father, blending multiple genres to explore this deeply personal subject.
Origins and developmentThe idea for Invention began when Hernandez and Stephens decided to collaborate while working in Western Massachusetts. Both had recently lost their fathers, and this shared experience became the foundation for the film. The film evolved from personal archives, particularly those from Callie Hernandez‘s late father, which included strange medical machines and stories that shaped the narrative.
Intimate collaborationWith a small cast and crew, the production process fostered an intimate atmosphere, allowing the team to adapt and respond to the moment. Hernandez describes the experience as “almost like we were all staying in the house, cooking up what we would shoot the next day.” The fluid nature of the project meant that the team often had to rethink their approach on the fly, making editing a crucial part of the storytelling process. This collaborative, improvisational method added a unique texture to the film, blending real-time creativity with the emotional weight of the subject matter.
Emotional and practical challengesOne of the most significant challenges, according to Hernandez, was balancing the emotional weight of the film with the practical limitations, particularly financial constraints. The lack of resources, however, ultimately contributed to the film’s raw and genuine feel. Courtney Stephens noted that the small budget forced them to be resourceful, leading to a project that is dense and complex, despite its seemingly simple appearance. She reflected on the value of working under these conditions, drawing inspiration from filmmaker Marguerite Duras, who appreciated the challenge of making films that seemed “impossible.”
Reflections on grief and filmmakingBoth Callie Hernandez and Courtney Stephens found the process of making Invention to be an exploration of not only grief but also filmmaking itself. Stephens, who had primarily worked in nonfiction, discovered new challenges in directing actors and shaping a narrative that was deeply personal yet collaborative. The film became a collective effort, with everyone involved contributing their own experiences and ideas to the final product.
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FRED Film Radio had the pleasure of speaking with director Ben Rivers about his latest film Bogancloch, which is competing at the Locarno Film Festival.
Introduction to “Bogancloch”Ben Rivers describes Bogancloch as a film set in the Scottish Highlands centred around his friend Jake Williams, who lives in the midst of a vast forest. The film spans a year in Jake’s life, blending different levels of reality to explore his existence in a remote and unspoiled environment.
Returning to Jake’s storyThis is not Ben Rivers‘ first film about Jake. He explains that his continued interest in Jake’s way of life and the changes over the past decade compelled him to create another film. “I still find his life very fascinating, and I felt like there was more to do there, more to see and hear,” Rivers says, noting the allure of Jake’s unique lifestyle.
A Distinctive filmmaking approachBen Rivers‘ approach to filmmaking is unconventional, blending reality with fictional elements. He emphasizes that Bogancloch is not a traditional documentary: “I’m not interested in telling people facts about his life or any backstory. It’s more open for the audience to think about why he’s there and what his past was.”
Every scene in the film was carefully set up and rehearsed, making it a collaborative effort between Rivers and Jake, which blurs the line between observer and participant.
Filming experienceThe filming process was as unique as the film itself. Ben Rivers visited Jake five times over a year, with some days dedicated to intense shooting and others spent walking, thinking, and planning. “It’s not a normal film shoot. It’s a bit more relaxed,” he explains.
Challenges and rewardsDespite the challenges of harsh weather and Jake’s lack of modern conveniences, Rivers found the experience rewarding. “When I look at the footage and see that it was worth freezing and getting soaking wet… that’s very rewarding,” he shares.
Lessons from JakeOver the years, Jake has taught Rivers the value of living a life with minimal impact on the world. Reflecting on what he’s learned from Jake, Ben Rivers concludes, “It’s about trying to live a life that has less impact on the world and as little harm to other people, animals, and plants as possible.”
Bogancloch is a film that challenges conventional documentary filmmaking, offering audiences a chance to immerse themselves in a world that is as much about feelings and imagination as it is about the subject’s reality. Rivers’ thoughtful approach to the film, combined with his deep connection to Jake, creates a cinematic experience that invites reflection and introspection.
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At the Locarno Film Festival, FRED Film Radio interviewed Irish director Aislinn Clarke about her film Fréwaka, showcased Out of Competition. The film, a deeply Irish horror story, explores generational trauma through the lens of folklore and superstition, set against the eerie backdrop of the Irish countryside.
A Love for HorrorAislinn Clarke’s passion for horror is evident in Fréwaka. Raised on a steady diet of horror films, she finds the genre comforting and a way to channel anxiety. “Horror films have rules, and we understand they’re not real,” she explains, viewing them as a controlled escape from the chaos of the world. For Clarke, horror is a universal genre that resonates with audiences everywhere, despite cultural differences.
Exploring Irish TraumaFréwaka delves into Ireland’s dark history, particularly its unspoken traumas passed down through generations. Aislinn Clarke sees horror as a tool to confront social issues in a non-confrontational way, allowing audiences to engage with difficult topics through the safety of narrative. The film draws heavily on Irish myths, particularly the Na Sí, malevolent fairy folk from Irish folklore. “They’re not cute like Tinkerbell; they’re vengeful and brutal,” Clarke notes, making them the perfect vehicle to explore the deep-seated traumas of Irish history.
Influences and SettingWhile Aislinn Clarke didn’t consciously model Fréwaka after specific films, she acknowledges the influence of folk horror classics like The Wicker Man. The rural Irish setting plays a crucial role in the film, with the main location—a previously unused period house on the border of Northern and Southern Ireland—adding to the film’s unsettling atmosphere. Clarke describes finding the house as a moment of “fate,” perfectly aligning with the film’s themes.
A Story of Irish WomenFréwaka focuses on female characters, a deliberate choice by Clarke to highlight the unique traumas faced by Irish women. Despite the small pool of fluent Irish-speaking actresses, Clarke found the perfect cast to bring her vision to life. The film, shot entirely in Irish, was a natural fit for Clarke, who wanted to use the language to explore the cultural and historical weight carried by Irish women.
Aislinn Clarke hopes Fréwaka resonates with audiences beyond its Irish roots, believing that horror’s universal appeal will allow viewers from all cultures to connect with the film. While she’s not exclusively a horror director, Clarke’s love for the genre and its ability to address dark, complex themes suggests that her future projects will continue to explore the shadows of the human experience.
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At the Locarno Film Festival, FRED Film Radio interviewed director César Díaz and actress Bérénice Bejo about their film Mexico 86, featured in the Piazza Grande section. This film tells the story of a revolutionary woman who, after fleeing Guatemala, reunites with her son in Mexico ten years later. Together, they navigate their strained relationship amidst the backdrop of political unrest.
Personal and Political ThemesMexico 86 is deeply rooted in César Díaz‘s personal experiences, particularly his relationship with his mother. “I wanted to explore motherhood and the mother-son relationship,” Díaz explains, noting the challenge of merging an intimate family story with broader political themes. The film also addresses the struggle against dictatorship, a subject close to Díaz’s heart.
Challenges in PortrayalFor Bérénice Bejo, playing María—a character inspired by Díaz’s mother—was challenging, especially due to the language barrier and the complexity of the role. “The first challenge was the language,” Bejo says, adding that working with a child actor also required patience and adaptability. Despite these hurdles, she found a deep connection with her character, attributing it to the trust and collaboration she shared with Díaz. “I didn’t even try to play his mother—it just happened naturally,” she recalls.
Balancing Emotion and DirectionCésar Díaz faced the challenge of directing a film so close to his own life. “Sometimes I was very moved, but I had to remember that it’s not because I was moved that the audience will be,” he reflects. He worked closely with the actors to create a space where they could fully embrace their characters. The film also explores the legacy of motherhood, with María’s relationship with her own mother influencing her as a mother to Marco.
A Collaborative JourneyThe making of Mexico 86 was a challenging yet rewarding experience for Díaz and Bejo. “We were far away from our country, our family, so every day we had to do our best,” Bejo says. Despite the difficulties, their collaboration resulted in a film they are deeply proud of.
Mexico 86 is a powerful narrative that explores motherhood, revolution, and the impact of the past on the present. Through their collaboration, César Díaz and Bérénice Bejo have created a film that challenges audiences to reflect on both historical and contemporary struggles.
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At the Locarno Film Festival, we had the opportunity to speak with Lotfi Achour, director of Red Path (Les Enfants Rouges), a film competing in the Cineasti del Presente section. The film, inspired by a tragic real-life event, delves into the psychological and emotional journey of a young boy facing unimaginable trauma.
A Journey Through Tragedy and DreamsRed Path draws inspiration from a harrowing event in Tunisia in 2015, where jihadist groups attacked two adolescent shepherds, resulting in the death of one and the other being forced to carry his head back to his family. Lotfi Achour describes the film as not merely a recounting of terrorism but a deep exploration of the young boy’s inner world. “The film is not about terrorism; it’s about the inner journey of this 14-year-old child and how he has to refer to all the mechanisms of childhood, psychological, and dreamy, to face this tragedy and survive it,” he explains.
The Impact of the Real EventLotfi Achour was profoundly moved by the real-life event, which he felt was more than just a crime—it was a national trauma. “The crime is quite odious, not an ordinary crime, especially because it involved children,” he says. He highlights that this event was unprecedented in Tunisia, where such violence against children was unheard of. “The nature of the crime, asking a child to carry a head in a bag, almost refers to mythological figures,” Achour reflects. He believes this crime became a collective trauma, deeply affecting the Tunisian national consciousness.
Creating a Dreamlike ExperienceThe film’s dreamlike quality is central to its narrative approach. Lotfi Achour and his team aimed to blend realism with dreamlike elements to reflect the boy’s psychological state. “We wanted it to be the simplest possible and most natural possible… there are sequences that were realistic and then which became, as the writing went on, they shifted into a form of nihilism,” Achour describes.
Working with the Young ProtagonistAchour’s approach to working with the young actor was meticulous and compassionate. He invested nearly a year in preparation, including workshops and dialect training, to ensure the actor could connect with the role authentically. “The main actor, at 13 years old, lived very close to the reality depicted in the film… he had personal experiences that mirrored the film’s themes,” Lotfi Achour notes. Despite the intense demands of the role, Achour praises the actor’s professionalism and resilience. “He shot 41 days out of 42, 12 hours a day… he was very overwhelmed emotionally but managed to handle the role with great maturity.”
A Timely MessageAs Red Path competes in the Cineasti del Presente section, Lotfi Achour hopes it will resonate on a global scale. He reflects on the film’s release amid ongoing global conflicts, particularly the plight of children in Gaza. “I hope that my film will be a small drop of water to draw attention to violence against children,” Achour says. He expresses a desire for the film to contribute to discussions about the broader implications of such violence, emphasizing that “when we attack children, it’s a whole generation that will be lost.”
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Fred Film Radio sat with Mar Coll, the visionary director behind Salve Maria, a psychological thriller that competes at this year’s Locarno Film Festival. The film dives deep into the complexities of motherhood, examining the darker emotions that often go unspoken.
A Journey into the Dark Corners of MotherhoodSalve Maria centers on a young mother, a writer, struggling to bond with her newborn. Her life takes a disturbing turn when she becomes obsessed with a nearby infanticide case, fearing she might succumb to similar thoughts. Mar Coll explains that the film, co-written with her close friend and fellow mother, aims to expose the darker aspects of motherhood that are rarely discussed, capturing the ambivalence that accompanies this life-changing experience, there is “always a little bit of darkness when you become a mother, and that’s what’s interesting because it’s not often said.”
Balancing Personal Experience with FictionWhile Salve Maria is an adaptation of a novel, Mar Coll reveals that her personal experiences as a mother deeply influenced the film. Salve Maria offers an honest portrayal of the loneliness and fear that can accompany new motherhood but also leaves room for hope. “We wanted to communicate emotions that have been in our experience,” she adds, noting that the ambivalence of motherhood—its mix of good feelings, love, and attachment alongside darker emotions—was a central theme in the film.
The Power of GenreColl chose the psychological thriller genre to tell Maria’s story, recognizing its perfect fit for the visceral, irrational journey of early motherhood. “Motherhood at the beginning has all this irrational journey for the mother… it’s so visceral and physical,” she explains. The genre allowed Coll to explore the intense physicality of pregnancy and breastfeeding, as well as the overwhelming fear and guilt that can arise.
The Role of Setting and AtmosphereSalve Maria‘s setting plays a crucial role in conveying Maria’s emotional state. The claustrophobic, dark house where much of the film takes place symbolizes her sense of entrapment and isolation. “The characters feel trapped in this place that is small,” Mar Coll explains, noting that they even made adjustments to the set to enhance this feeling, such as building additional walls and reducing the size of windows. As the story progresses, the open landscapes reflect Maria’s internal struggle as she confronts her darker impulses, moving towards a more primal connection with nature.
The Decision to Shoot in 35mm Mar Coll opted to shoot Salve Maria on 35mm film to create a delicate, sensitive, and visually stunning narrative. This choice enhances the film’s immersive quality, helping viewers empathize with a character who struggles with unsettling emotions. “I wanted the film to be moving, delicate, and sensitive, and also beautiful,” she explains.
What Audiences Can ExpectColl hopes that Salve Maria will be an immersive experience for viewers, drawing them into the emotional journey of its protagonist. “At first, I don’t want them to think—just to get into the film,” she says, emphasizing the importance of the emotional experience. She acknowledges that the film’s ending is controversial and may provoke debate, particularly around societal expectations of motherhood and what is considered “normal.” “The ending is a little bit scandalous because of what is normal and what is not,” Mar Coll remarks, noting that the film is already sparking conversations about these themes. Ultimately, she hopes the film will inspire discussions that challenge conventional perceptions of motherhood and its complexities.
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At the Locarno Film Festival, Stacey Sher, a renowned producer behind iconic films like Pulp Fiction and Erin Brockovich, received the prestigious Raimondo Rezzonico Award. In an insightful interview, Sher reflects on her illustrious career, the changing film industry, and the future of cinema.
The 90s: Defining a Decade of CinemaStacey Sher’s early works, including Pulp Fiction and Get Shorty, played a pivotal role in shaping American cinema in the 90s. “It was fun,” she recalls of the time, though she admits, “neither of those movies were particularly easy to get made. We weren’t expecting to still be talking about them now.”
Bringing Generational Stories to the ScreenStacey Sher also produced generational touchstones like Reality Bites and Garden State, both of which resonated deeply with their audiences. Reflecting on Reality Bites, Sher shares how the project evolved, noting, “It originally grew from a story idea—a ‘Big Chill’ for people in their 20s.” She credits Ben Stiller’s directorial debut with crystallizing the story, particularly when he decided to make his character a peer of the others rather than an older figure.
For Garden State, Sher highlights how the project was championed by Pam Abdy, then-president of Jersey Films. “Pam said, ‘This is my life. This is me.’ Our philosophy was to trust each other’s taste and back each other,” Stacey Sher explains, showcasing the collaborative spirit that defined her work.
Working with First-Time DirectorsSher has a knack for identifying and nurturing talent, having worked with first-time directors like Ben Stiller and Zach Braff. “If you choose well, a directorial debut is fun, exciting, and collaborative,” she says. Sher emphasizes the importance of supporting filmmakers as they find their voice, noting that both Stiller and Braff had honed their craft through previous work, making them ready for the challenges of directing.
A Career Built on IntuitionThroughout her career, Stacey Sher has produced a wide range of films, from Pulp Fiction by Quentin Tarantino to Out of Sight by Steven Soderbergh. When asked if there’s a common thread in her work, she reflects, “I’ve made very intuitive decisions based on what I love, which is informed by the films and filmmakers I grew up loving.” Sher’s intuitive approach and deep love for cinema have resulted in a body of work that continues to impact the industry.
The Evolving Role of Women in FilmAs one of the industry’s leading female producers, Sher has witnessed significant changes in the role of women in film. “There are definitely more of us now,” she observes, pointing to the increasing number of female executives in the industry. This shift reflects broader changes in an industry that has traditionally been male-dominated.
Looking to the Future of CinemaStacey Sher remains optimistic about the future of cinema, even as digital media and streaming services reshape the industry. “Contrary to all the obituaries that were written for the cinema, it still seems to be healthy,” she asserts. Sher believes that audiences still enjoy the theater experience, and that cinema will continue to evolve, accommodating both large-format spectacles and more intimate films.
Advice to Her Younger SelfWhen asked what advice she would give to her younger self, just starting out in the industry, Sher’s response is succinct and powerful: “Get over the need to be liked.” This advice reflects the resilience and confidence that have driven her successful career, and maybe it’s a great reminder for all of us, especially nowadays.
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Hochhäusler's Death Will Come dives into the dark underbelly of Brussels, where power and mortality collide in a gripping gangster thriller. The post "Death Will Come", interview with director Christoph Hochhäusler appeared first on Fred Film Radio.
Edgar Pêra’s Telepathic Letters blends AI-generated visuals with the philosophies of Lovecraft and Pessoa, creating a unique cinematic experience. The post "Telepathic Letters", interview with director Edgar Pêra appeared first on Fred Film Radio.
The San Sebastián Film Festival’s 72nd edition, running from September 20-28, promises a compelling lineup featuring esteemed directors and promising newcomers. Renowned filmmakers Maite Alberdi, Edward Berger, Gia Coppola, Costa-Gavras, Kiyoshi Kurosawa, Mike Leigh, Diego Lerman, Joshua Oppenheimer, and François Ozon will compete for the coveted Golden Shell. Joining them are debut directors Laura Carreira and Xin Huo. The competition also includes films by acclaimed Spanish directors Iciar Bollain, Pedro Martín-Calero, Pilar Palomero, and Albert Serra.
Maite Alberdi’s Debut Feature FilmMaite Alberdi, known for her award-winning documentaries, presents her first feature-length film, “El lugar de la otra.” This true crime story is based on the life of writer María Carolina Geel, who shot her lover dead in 1955. Alberdi’s previous works include “The Mole Agent” and “The Eternal Memory,” both of which received critical acclaim and award nominations.
New Talent Laura Carreira with “On Falling”Laura Carreira’s “On Falling” portrays the precarious life of a Portuguese warehouse worker in Scotland. Carreira, who has received recognition for her short films “Red Hill” and “The Shift,” makes her feature directorial debut with this intimate exploration of loneliness and connection in the gig economy.
Gia Coppola’s Star-Studded “The Last Showgirl”Gia Coppola’s “The Last Showgirl” features a stellar cast, including Pamela Anderson, Jamie Lee Curtis, and Dave Bautista. The film follows a seasoned showgirl who must plan for her future after her show abruptly closes. Coppola, known for “Palo Alto” and “Mainstream,” continues to showcase her unique storytelling style.
Costa-Gavras Returns with “Le dernier souffle”Legendary director Costa-Gavras returns to the San Sebastián Film Festival with “Le dernier souffle.” This philosophical film explores the reflections of a palliative care doctor and a renowned writer, featuring an ensemble cast including Denis Podalydès and Charlotte Rampling. Costa-Gavras’s storied career includes classics like “Z” and “Missing.”
Edward Berger’s Intriguing “Conclave”Edward Berger’s “Conclave” delves into the secretive process of selecting a new Pope, starring Ralph Fiennes and Stanley Tucci. Following his Academy Award-winning “All Quiet on the Western Front,” Berger brings his deft touch to this tense and captivating narrative.
Edward Berger’s “Conclave”Kiyoshi Kurosawa Reimagines “Serpent’s Path”Kiyoshi Kurosawa reimagines his 1998 film “Serpent’s Path” with an international cast, including Ko Shibasaki and Mathieu Amalric. This new version, set in the suburbs of Paris, follows a man’s quest for revenge with the help of a Japanese doctor.
Mike Leigh’s “Hard Truths”* Explores Family DynamicsMike Leigh’s “Hard Truths” addresses family dynamics and mental health, starring Marianne Jean-Baptiste and Michele Austin*. Leigh, known for his keen observations of everyday life, brings his characteristic depth to this British-Spanish production.
Diego Lerman’s UFO Investigation in “El hombre que amaba los platos voladores”Diego Lerman’s “El hombre que amaba los platos voladores” investigates Argentina’s most famous UFO sighting. Featuring Leonardo Sbaraglia and Renata Lerman, the film delves into the country’s fascination with extraterrestrial encounters.
Joshua Oppenheimer’s Dystopian Musical “The End”Joshua Oppenheimer’s “The End” is a dystopian musical starring Tilda Swinton and George MacKay. Known for his powerful documentaries “The Act of Killing” and “The Look of Silence,” Oppenheimer now explores a wealthy family’s survival in a post-apocalyptic world.
Joshua Oppenheimer’s “The End”François Ozon’s “Quand vient l’automne”François Ozon’s “Quand vient l’automne” tells the story of a retired woman whose life changes after meeting a former prisoner. Ozon, a frequent participant in the festival, continues to captivate with his nuanced and emotive storytelling.
Opening Film and Spanish ProductionsOpening the San Sebastián Film Festival is Audrey Diwan’s “Emmanuelle.” Competing for the Golden Shell are Spanish productions “Soy Nevenka” by Iciar Bollain, “El llanto” by Pedro Martín-Calero, “Los destellos” by Pilar Palomero, and “Tardes de soledad” by Albert Serra. These films showcase the diversity and richness of Spanish cinema.
This year’s San Sebastián Film Festival showcases a diverse array of films that promise to captivate audiences and highlight the extraordinary talent of both seasoned filmmakers and emerging directors.
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The 81st Venice International Film Festival will showcase the world premiere of “Horizon: An American Saga – Chapter Two,” directed by and starring the Academy Award-winning Kevin Costner. This premiere will take place on Saturday, September 7, alongside the screening of “Horizon: An American Saga – Chapter One.”
A Cinematic Journey Across the American West“Horizon: An American Saga” is a compelling two-part narrative that delves into the Civil War expansion and settlement of the American West. Kevin Costner, known for his visionary filmmaking, directs and stars in this epic saga, supported by a stellar cast including Sienna Miller, Sam Worthington, Jena Malone, and Danny Huston. The film promises to take audiences on an emotional journey, exploring the blood, sweat, and tears of the many who shaped the United States during the Civil War era.
A Dream Realized in VeniceKevin Costner expressed his excitement about the film’s premiere at Venice, stating, “My dream was always to show ‘Horizon: An American Saga – Chapter Two’ at the Venice Film Festival. The fact that they have decided to show Chapter One earlier in the day and then the World Premiere of Chapter Two that evening shows not only their belief in how the two films work together but their support of a director’s vision. I’m indebted to Alberto Barbera for his courage and leadership in committing to this cinematic journey. It is with gratitude and excitement that I return to the Venice Film Festival. Long live the movies and those willing to stand for them.”
Celebrating a Visionary ProjectAlberto Barbera, the artistic director of the Venice Film Festival, praised the project, saying, “It is a great pleasure and honour to host the world premiere of Chapter Two of Horizon: An American Saga, alongside its Chapter One. This late addition to the lineup of the Venice Film Festival pays a heartfelt and respectful tribute to the visionary project of a great actor and director, who invested himself in the epic reconstruction of the years crucial to the founding of the country, digging beyond myth in search of authenticity capable of restoring a piece of history in its complex and contradictory reality”
Kevin Costner: A Cinema SagaKevin Costner’s career spans decades, with notable achievements both in front of and behind the camera. From his breakout roles in “Field of Dreams” and “Dances with Wolves” to directing critically acclaimed films like “Open Range,” Costner has consistently showcased his versatility and dedication to storytelling. His return to directing with “Horizon: An American Saga” marks another significant milestone, promising a rich, immersive experience for audiences.
The premiere of “Horizon: An American Saga – Chapter Two” at the Venice Film Festival is a testament to Kevin Costner‘s lasting impact on cinema. Along with Chapter One, this film offers a powerful exploration of American history, brought to life by a talented cast and crew. The presence of Kevin Costner and the entire cast on the Lido is the icing on the cake of a truly stellar edition of the Venice Film Festival.
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Renowned British filmmaker Joanna Hogg has been named the jury president for the XXI edition of Giornate degli Autori at the Venice Film Festival. Hogg, known for her critically acclaimed films “The Souvenir” and “The Eternal Daughter,” will lead the panel in selecting the prestigious GdA Director’s Award winner. This year marks the 10th anniversary of the award, which honours one of the ten films in competition.
Once Upon a Time in SohoJoanna Hogg‘s journey in cinema began in the vibrant Soho of the 1980s, where she created Super8 videos inspired by mentor Derek Jarman. Hogg graduated with a short film starring an unknown Tilda Swinton, and since then, she has crafted a legacy with films like “The Souvenir,” “The Souvenir Part II,” and “The Eternal Daughter.” This year, she follows in the footsteps of Portuguese director João Pedro Rodríguez as jury president.
Celebrating 10 Years of GdA Director’s AwardThe GdA Director’s Award established a decade ago with the European Parliament’s “27 Times Cinema” project, grants a €20,000 prize to the winning film. This award is split between the director and the international seller, supporting the film’s promotion. Joanna Hogg, alongside ten former “27 Times Cinema” participants, will select the winning film. The jury meetings will be coordinated by Karel Och, artistic director of the Karlovy Vary International Film Festival.
Diverse Jury of Former ParticipantsThe jury comprises past “27 Times Cinema” participants, chosen from the 388 young cinephiles who have attended Venice over the years. Representing various cultures and professions within the European film community, these jurors bring a wealth of experience and passion to the table.
Joanna Hogg’s Enthusiastic Involvement“What could be more fun and stimulating than watching films and sharing ideas with a jury of young film professionals who are above all cinephiles,” said Hogg. “I thank the Giornate degli Autori for inviting me to what I anticipate will be days of joyful and inspiring discussions about cinema and its possibilities.”
Artistic Director and Delegate’s PraiseGaia Furrer, artistic director of Giornate degli Autori, expressed her excitement: “Over the course of her film career, Hogg has probed the human soul, family dynamics, and romantic attachments with great psychological depth, accuracy and a rare authenticity. Her cinema is implosive – the very word used by Martin Scorsese, who produced Hogg’s last three films, to describe the way her films often bring inconvenient and even unspeakable truths to light. I am proud to have her with us on the Venice Lido and know she’ll be an excellent guide for our young jurors.”
Giorgio Gosetti, general delegate, added, “The president’s own story, and the passion she will inject into our tenth anniversary jury, goes hand in hand with the enthusiasm of the ten other jurors, eager to return to Giornate degli Autori. Their first time around, they were budding cinephiles, many of whom had never even been to a major festival. They return in 2024 as rising young professionals in a variety of areas that make up the ‘film machine’: programmers, critics, producers, sales agents, and more. ”
The Ten Jurors David Bakum (Germany, 27 Times Cinema 2022) – Curator and organizer for XPOSED Queer Film Festival, Berlin. * Victor Courgeon (France, 27 Times Cinema 2019) – Public relations and communications manager at Cinéma Le Méliès. * Maarja Hindoalla (Estonia, 27 Times Cinema 2015) – Freelance journalist and critic, acquisitions head at the Estonian National Film Archive. * Dimosthenis Kontes (Greece, 27 Times Cinema 2018) – Sales coordinator at Pluto Film. * Amalia Mititelu (Romania, 27 Times Cinema 2020) – Art director for short films, commercials, and series by Netflix, Hulu, and Disney+. * Saulė Savanevičiūtė (Lithuania, 27 Times Cinema 2022) – Program coordinator for European Film Forum Scanorama, writer. * Esmée van Loon (Netherlands, 27 Times Cinema 2017) – Film programmer at LantarenVenster, Rotterdam. * Gregor Valentovic (Slovakia, 27 Times Cinema 2015) – Filmmaker. * Isabella Weber (Italy, 27 Times Cinema 2010) – Development executive at Kino Produzioni, freelance story editor. * Chris Zahariev (Bulgaria, 27 Times Cinema* 2020) – Director and screenwriter at Razkaz, working on his first feature film.
Joanna Hogg’s appointment as jury president highlights the unique blend of experience and youthful passion that Giornate degli Autori continues to foster, celebrating the rich diversity and talent within the European film community.
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"Here After" is the directorial debut of famous "21 grams" and Smile, the producer Robert Salerno. The post “Here After”, interview with director Robert Salerno appeared first on Fred Film Radio.
The 81st Venice International Film Festival unveiled its eagerly anticipated program today, promising an extraordinary edition featuring an impressive array of stars and significant films. The event, which runs from August 28 to September 7, continues to cement its reputation as one of the world’s most prestigious film festivals, attracting filmmakers, actors, and cinema enthusiasts from around the globe.
The Double Expansive Movement of CinemaOne of the central themes of the 81st Venice International Film Festival is what Alberto Barbera has termed the “double expansive movement” of cinema. On one hand, there is a trend towards increasingly shorter films, adapted to new digital platforms like YouTube, Instagram, and TikTok. On the other hand, there is an expansion in the length of films, with works often exceeding three hours, influenced by TV series and a desire to explore new narrative forms. “The program of the 81st Venice Film Festival offers significant examples of this double expansive movement,” Barbera stated.
81st Venice International Film Festival in NumbersThis year, the official selection includes 83 new feature films, divided among the different sections of the festival:
- 21 in the Venezia 81 (Competition) section
- 21 in the Out of Competition section (11 documentaries and 10 fiction films)
- 19 in the Orizzonti section
- 9 in the Orizzonti Extra section
- 9 in the Venezia Classici – Documentaries on Cinema section
- 4 in the Biennale College – Cinema section
Additionally, there will be 17 short films and 5 TV series, including four high-profile series presented Out of Competition.
Hollywood Stars at the LidoThe 81st Venice International Film Festival is renowned for attracting a significant number of international celebrities, and this year is no exception. Expected stars at the Lido include Lady Gaga, Joaquin Phoenix, Julianne Moore, Tilda Swinton, Angelina Jolie, Jude Law, Daniel Craig, Nicole Kidman, Adrien Brody, Felicity Jones, Cate Blanchett, George Clooney, Brad Pitt, Monica Bellucci, Michael Keaton and Jenna Ortega.
Joker 2: Folie à DeuxOne of the most anticipated films in competition is “Joker: Folie à Deux,” the musical sequel to Todd Phillips’ 2019 hit, starring Lady Gaga and Joaquin Phoenix. Another highly anticipated title is Luca Guadagnino’s “Queer”, with Daniel Craig portraying an alter ego of William S. Burroughs, an American expatriate heroin addict living in Mexico. Notable returns to the Lido include Pablo Larraín with “Maria” starring Angelina Jolie as Maria Callas, and Pedro Almodóvar presenting his first English-language film, “The Room Next Door” starring Julianne Moore and Tilda Swinton. Director Brady Corbet also returns with“The Brutalist”, shot in 70 mm and starring Adrien Brody.
Angelina Jolie è “Maria” di Pablo LarrainAward-Winning Directors and New DiscoveriesThis year’s Venice International Film Festival selection also features numerous award-winning directors and new talents. First-time participants in the competition include:
- Ludovic Boukherma and Zoran Boukherma with “Leurs Enfants Après Eux”
- Delphine Coulin and Muriel Coulin with “The Quiet Son”
- Maura Delpero with “Vermiglio”
- Fabio Grassadonia and Antonio Piazza with “Sicilian Letters”
- Dag Johan Haugerud with “Love”
- Dea Kulumbegashvili with “April”
- Justin Kurzel with “The Order”
- Emmanuel Mouret with “Trois Amies”
- Luis Ortega with “Kill the Jockey”
- Halina Reijn with “Babygirl”
- Giulia Louise Steigerwalt with “Diva Futura”
- Yeo Siew Hua with “Stranger Eyes”
Nicole Kidman e Harris Dickinson in “Babygirl” di Halina ReijnAdditionally, six Oscar-winning directors will be present, including Pedro Almodóvar, Alfonso Cuarón, Claude Lelouch, Kevin Macdonald, Errol Morris and Thomas Vinterberg.
Auteur TV SeriesThe Venice Film Festival has also embraced the TV series format, presenting four high-profile “auteur” series:
- “Disclaimer” by Alfonso Cuarón, with Cate Blanchett and Kevin Kline
- “M. Son of the Century” by Joe Wright, with Luca Marinelli, Francesco Russo, Barbara Chichiarelli
- “The New Years” by Rodrigo Sorogoyen
- “Families Like Ours” by Thomas Vinterberg
Contemporary Themes in FilmsAlberto Barbera emphasized that the Venice International Film Festival not only celebrates cinema as an art form but also provides a platform for reflecting on the most urgent contemporary issues. Many of the films in the program address topics such as armed conflicts, climate change, migration, and the rise of populist movements. “Cinema has always been a formidable opportunity, in general, to reflect and mirror the themes related to humanity and, in particular, a mirror of contemporary issues, an open window on continuous conflicts, unresolved contradictions, emerging clashes, and unexpected tragedies looming over the beleaguered planet,” Barbera declared.
Opening and Closing EventsThe festival will open with the highly anticipated “Beetlejuice Beetlejuice” by Tim Burton, a sequel to the 1988 classic. Michael Keaton returns as the shapeshifting ghoul, joined by a stellar cast including Winona Ryder, Catherine O’Hara, Justin Theroux, Monica Bellucci, Jenna Ortega and Willem Dafoe. The closing film will be “L’Orto Americano” by Pupi Avati, a tribute to America through the eyes of an Italian.
The 81st Venice International Film Festival reaffirms its status as one of the most important and anticipated events on the global cinematic landscape. This edition not only reflects current cinema trends but also serves as a window into the world’s problems and challenges, confirming the crucial role of cinema as a tool for reflection and dialogue. Prepare for an extraordinary cinematic experience at the Lido of Venice!
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Today, July 22, 2024, the much-anticipated program for the 39th International Critics’ Week (SIC) has been revealed. The event will take place from August 28 to September 7, 2024, as part of the 81st Venice International Film Festival. This independent section, dedicated to debut films, serves as a crucial platform for new voices in global cinema.
An Introduction to the 39th International Critics’ WeekBeatrice Fiorentino, General Delegate of the SIC, emphasized how contemporary cinema mirrors our indeterminate present. “In what world do we live? In what time do we live? An indecipherable world, full of uncertainties, where it becomes difficult to orient ourselves and distinguish truth from falsehood,” Fiorentino stated, “The cinema of the present seems to follow this disorientation, the feeling of being in a moment of suspension, of waiting. The films that make up the program of the 39th International Critics’ Week… confirm the disorientation that unites us across every latitude of the planet.”
The Official SelectionThis year’s selection, curated by Beatrice Fiorentino along with the selection committee members Enrico Azzano, Chiara Borroni, Ilaria Feole, and Federico Pedroni, includes seven films in competition and two special events. The films in the competition are:
- “Anywhere Anytime” by Milad Tangshir (Italy)
- “Don’t Cry, Butterfly” by Dương Diệu Linh (Vietnam, Singapore, Philippines, Indonesia)
- “Homegrown” by Michael Premo (USA)
- “No Sleep Till” by Alexandra Simpson (USA, Switzerland)
- “Paul & Paulette Take a Bath” by Jethro Massey (UK)
- “Peacock” by Bernhard Wenger (Austria, Germany)
- “Perfumed with Mint” by Muhammed Hamdy (Egypt, France, Tunisia)
Special EventsThe SIC will open with “Planet B” by Aude Léa Rapin (France, Belgium) and close with “Little Jaffna” by Lawrence Valin (France), two out-of-competition works that promise to be highlights of the festival.
SIC@SIC Short FilmsThe SIC@SIC section, dedicated to Italian short films, features seven short films in competition and three special events:
- “At Least I Will Be 8 294 400 Pixel” by Marco Talarico (Italy)
- “Billi il cowboy” by Fede Gianni (Italy)
- “Nero argento” by Francesco Manzato (Italy)
- “Phantom” by Gabriele Manzoni (Italy)
- “Playing God” by Matteo Burani (Italy, France)
- “Sans Dieu” by Alessandro Rocca (Italy)
- “Things That My Best Friend Lost” by Marta Innocenti (Italy)
Awards and RecognitionsThe films in competition vie for several prestigious awards:
- Gran Premio IWONDERFULL (€10,000)
- Audience Award The Film Club (€3,000)
- Luciano Sovena Award (€5,000)
- Circolo del Cinema di Verona Award for the most innovative film
- Mario Serandrei – Hotel Saturnia Award for Best Technical Contribution
Additionally, all debut feature films presented in competition at the SIC are eligible for the Leone del Futuro – Venice Award for a Debut Film “Luigi De Laurentiis”, which offers a prize of $100,000.
The Official Image of the 39th SICThe official image of the 39th International Critics’ Week was created by Emiliano Mammucari, creatively produced by Mauro Uzzeo, and designed by Fabrizio Verrocchi. This year, the image reflects the uncertainty and instability of the present, proposing a vision that unites different languages such as cinema, drawing, and photography, representing a world that must start again from uncertainty.
Manifesto 39° Settimana Internazionale della Critica.The 39th SIC promises to be an event full of food for thought, offering a profound look at our time through the evocative power of cinema. Don’t miss following the updates and news of this important cinematographic event on FRED Film Radio.
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Unsettled : Bella Thorne’ second short film as a director on her friend Jason Parks’ real story The post “Unsettled”, interview with director Bella Thorne appeared first on Fred Film Radio.
The 21st edition of Giornate degli Autori, an independent section promoted by ANAC and 100autori, will take place from August 28 to September 7, 2024, as part of the Venice International Film Festival. This eagerly awaited event brings a new wave of creativity and innovation to the world of auteur cinema with a program that promises to surprise and engage audiences.
A Rich and Varied ProgramSpeaking about the program, Gaia Furrer, Artistic Director of Giornate degli Autori, previews the themes of the selection: “Our lineup is rigorous, lean, and stylistically eclectic, one that puts stories about people front and centre: their encounters, relations, breakups, and losses. It features places and environments, the majesty of which (from the Swiss Alps and the Mongolian steppes to the dunes of Colombia and tropical islands) often dominates human affairs. There are stories and reports of a world on fire, from Russia or Georgia to the Dominican Republic and Haiti and from Sudan to Ukraine and the Palestinian refugee camps in Beirut. Stories of struggling with authority without neglecting the everyday foibles of individuals who continue to love, fight, fall in love, and drift apart.”
The official selection of Giornate degli Autori 2024 includes 10 films in competition, 1 closing film out of competition, 5 special events, and 3 short films, including two as part of the Women’s Tales project and one dedicated to the 2022 winner.
This year’s competition features a variety of stories that embrace different cultures and countries. From “Taxi Monamour” by Ciro De Caro, which narrates the experiences of two women determined to live their choices independently, to “Alpha.” by Jan-Willem Van Ewijk, a psychoanalytic thriller set in the Swiss Alps. “Boomerang” by Shahab Fotouhi explores emotional bonds in modern Tehran, while “To Kill a Mongolian Horse” by Jiang Xiaoxuan moves between rural Mongolia and urban capitalism.
TAXI MONAMOUR by Ciro De CaroFemale Perspectives and InternationalityWith sixteen female directors out of a total of twenty-five titles, Giornate degli Autori celebrates the presence of women in cinema. Stories like “Selon Joy” by Camille Lugan, starring Asia Argento and Raphaël Thiéry, and “Sugar Island” by Dominican filmmaker Johanné Gómez Terrero, tackle themes of identity and liberation. Among the fiction works, “Super Happy Forever” by Kohei Igarashi and “Sanatorium Under the Sign of the Hour Glass” by the Quay Brothers offer kaleidoscopic and metaphysical visions of time and reality.
“Sugar Island” by Johanné Gómez TerreroCommitment and ReflectionThis year’s edition stands out for a new space dedicated to words and images, titled Confronti, presented by Giorgio Gosetti, General Delegate of Giornate degli Autori: “The identity of Giornate is not built solely on the search and presentation of original films and artists. Within the Venice Film Festival, we are a free space of words & images where every year we seek the compass of the present, the vision of the future, the memory of common roots. This is why we have launched the Confronti space, dedicated precisely to the otherness of our proposal, inaugurated on August 28 by a powerful and unmistakable voice like that of Tahar Ben Jelloun, to remind us that without culture and respect for the dignity of others, peace cannot return to our torn world.”
Special Events and TributesIn addition to the rich selection of films, Giornate degli Autori 2024 will offer a series of special events and tributes. Among these, a remembrance of Emidio Greco, co-founder of the section, 50 years after his debut with “L’invenzione di Morel” in 1974, and a tribute to Naples by Gaetano Di Vaio and Enzo Moscato with “Dadapolis” by Carlo Luglio and Fabio Gargano.
Special events include works like “Coppia aperta quasi spalancata”, directed by Federica Di Giacomo and starring Chiara Francini, inspired by the play of the same name by Franca Rame and Dario Fo. Additionally, the documentary “Alma del desierto” by Monica Taboada Tapia follows the journey of Georgina, an elderly transgender woman, in search of her recognized identity.
An emotional moment will be the tribute to Massimo Troisi, commemorated thirty years after the world premiere of his last masterpiece, “Il postino.” The homage, in collaboration with the Venice Film Festival and SIC, honours his artistic legacy and impact on Italian cinema.
“Coppia aperta quasi spalancata” by Federica Di GiacomoVenetian NightsVenetian Nights returns with nine feature films between fiction and documentary, produced in collaboration with Isola Edipo and presented in Sala Laguna. Among the films scheduled, standout titles include “Quasi a casa” by Carolina Pavone, a choral debut exploring the tensions and hopes of a young musician, and “La scommessa” by Giovanni Dota, a black comedy set in a hospital ward in Naples.
The 21st edition of Giornate degli Autori is a tribute to auteur cinema, a journey through stories and visions that aim to connect past, present, and future, offering an independent and innovative platform in the panorama of the Venice Film Festival. We eagerly await the start of the event to immerse ourselves in the stories, emotions, and visions that only the big screen can offer
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Israeli director Amos Gitai is back at the Taormina Film Fest after 25 years, with his new work “Shikun“.
At the 70th edition of the festival, directed from this year on by Marco Müller, Amos Gitai is introducing his film, which premiered last February at the Berlinale, to the italian audience.
Conceived and shot in Tel Aviv a while before the events of October 7th, 2024, “Shikun” in hebrew means collective housing as the film is set there, a sort of refugee building giving shelter to anyone asking for help: Israelis, Palestinians, Ukrainians
The inspiration for the film comes from Eugène Ionesco’s play “Rhinoceros“, an anti-totalitarian fable the Romanian author wrote at the end of the 50’s.
Ionesco’s words felt so contemporary to address what’s happening in his country but also in the world that Gitai asked Irene Jacob who, at the time was busy in Paris in a play based on Gitai’s own work, to come back to Tel Aviv and shot the film.
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The 77th Locarno Film Festival will honour renowned Mexican filmmaker Alfonso Cuarón, a five-time Academy Award winner, with the prestigious Lifetime Achievement Award. The festival will present this accolade, which celebrates extraordinary careers in the film industry, to Cuarón on Sunday, August 11, in Piazza Grande. On the same day, audiences will have the opportunity to engage with Alfonso Cuarón in a panel conversation at Forum @Spazio Cinema.
Alfonso Cuarón’s Cinematic JourneyAlfonso Cuarón‘s career is a testament to his versatility and mastery across different film genres and scales. From his early low-budget films in Mexico to major Hollywood blockbusters, Cuarón has continuously demonstrated his unique vision and storytelling prowess. His impressive filmography includes adaptations like Great Expectations (1998), Harry Potter and the Prisoner of Azkaban (2004), and Children of Men (2006), as well as modern classics such as Y tu mamá también (2001), the Academy Award-winning Gravity (2013), and Roma (2018), and his directorial debut, Sólo con tu pareja.
Cuarón is celebrated for his dynamic long-takes and ability to elicit powerful performances from his actors. He has directed iconic performances from stars like Diego Luna, Gael García Bernal, Julianne Moore, George Clooney, Michael Caine, Clive Owen, and Sandra Bullock while also providing a platform for emerging talents, such as Yalitza Aparicio in Roma, whose performance earned her an Academy Award nomination for Best Actress.
His upcoming project, Disclaimer, is a series for Apple TV+ starring Cate Blanchett and Kevin Kline, set to launch on 11 October. In 2022, he produced Alice Rohrwacher’s Oscar-nominated short film Le pupille, making him the second person recognized in seven different Oscar categories.
Giona A. Nazzaro on Alfonso CuarónGiona A. Nazzaro, the Artistic Director of the Locarno Film Festival, praised Alfonso Cuarón, stating, “Alfonso Cuarón is a visionary author of agile and liberated imaginaries. Combining an experimental spirit with the sweep of great popular writers, he has captured the imaginations and hearts of millions of viewers. From coming-of-age novels to science fiction, from melodrama to grand sagas like Harry Potter, Alfonso Cuarón has reinvented himself as an artist with each new film, always in the service of the pleasure of cinema. He has thus created a truly multifaceted body of work.”
Tribute Program HighlightsThe Lifetime Achievement Award to Alfonso Cuarón will be accompanied by a screening of Alain Tanner’s Jonas qui aura 25 ans en l’an 2000 (1976), a film personally selected by Cuarón. Before the screening, Cuarón will discuss the film’s significance to his work and film history. The discussion will be moderated by Frédéric Maire, director of Cinémathèque suisse, in collaboration with Les Films du Camélia.
The public conversation with Alfonso Cuarón at the Forum @Spazio Cinema, moderated by Manlio Gomarasca, will allow fans and cinephiles to gain insights into his illustrious career and creative process.
The Locarno Film Festival‘s Lifetime Achievement Award is a fitting tribute to Alfonso Cuarón‘s remarkable contributions to cinema. It celebrates his innovative spirit and the enduring impact of his work on audiences worldwide.
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Today, July 12, the Taormina Film Fest 2024 kicks off. It is celebrating its 70th anniversary with an evening dedicated to the Nastri d’Argento at the Ancient Theatre. Organized by the Taormina Arte Sicilia Foundation and directed by Marco Müller, this edition promises to be an unforgettable event rich in cinema, art, and territorial valorization.
Opening Night and Nastri d’ArgentoThe opening night will feature the Nastri d’Argento, returning to the Ancient Theatre to honour the excellence of Italian comedy. During the evening, the “Premio Manfredi” will be awarded and promoted by Cinematographic Journalists in collaboration with the Manfredi family.
Screenings and GuestsThe festival will continue on Saturday, July 13, with the world premiere of Saint Clare, directed by Mitzi Peirone, with actresses Bella Thorne and Rebecca De Mornay in attendance. On Sunday, July 14, it will be the turn of Il giudice e il boss by Pasquale Scimeca, presented by actors Gaetano Bruno, Peppino Mazzotta, and Claudio Castrogiovanni.
Special EventsOn Saturday and Sunday, the Palazzo dei Congressi will host Amos Gitai, a master of Israeli cinema, who will present his latest feature film, Shikun. Additionally, the collective of 22 Palestinian directors will present From Ground Zero, a project supervised by Rashid Masharawi that brings the voice of the Gaza population to Taormina.
Taormina Film Fest Host and PresentationCatanese artist Ester Pantano will host the festival, and journalist Elvira Terranova will host the evenings at the Ancient Theatre. On July 14, Producer Carlo Degli Esposti will receive the Golden Cariddi Lifetime Achievement Award.
Vision and InnovationThe foundation’s artistic director, Gianna Fratta, has enriched the cultural offering with theatrical performances, musical shows, and multimedia events. Director Marco Müller has crafted a program that marries international vocation with Sicilian territorial roots, offering a daytime schedule full of must-see films, including Il ladro di stelle cadenti by Francisco Saia and Il cassetto segreto by Costanza Quatriglio.
Don’t miss this special edition, which promises to be a meeting point between cinema, culture, and territory, celebrating 70 years of history and success of the Taormina Film Fest.
For further details, visit www.taorminafilmfestival.com.
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The 81st Venice International Film Festival, taking place from September 7, 2024, has officially announced its prestigious International Jury for the Venezia 81 Competition. Chaired by acclaimed French actress Isabelle Huppert, the jury is composed of renowned film professionals from around the globe.
Venezia 81 International Jury Members1. Isabelle Huppert (President) – Renowned French actress with a prolific career, including multiple awards at Cannes and Venice Film Festivals. 2. James Gray – American director and screenwriter known for films like “Ad Astra” and “The Immigrant.” 3. Andrew Haigh – British director and writer acclaimed for “45 Years” and “All of Us Strangers.” 4. Agnieszka Holland – Polish director and screenwriter with three Oscar nominations, known for “Europa Europa” and “In Darkness.” 5. Kleber Mendonça Filho – Brazilian director and screenwriter famous for “Aquarius” and “Bacurau.” 6. Abderrahmane Sissako – Mauritanian director and producer recognized for “Timbuktu” and “Waiting for Happiness.” 7. Giuseppe Tornatore – Italian director celebrated for “Cinema Paradiso” and “The Best Offer.” 8. Julia von Heinz – German director and screenwriter known for “And Tomorrow the Entire World” and “Treasure.” 9. Zhang Ziyi – Chinese actress acclaimed for roles in “Crouching Tiger, Hidden Dragon” and “Memoirs of a Geisha.”
The jury will present the prestigious Golden Lion for Best Film and other significant awards during the 81st Venice International Film Festival’s closing ceremony on September 7 at the Palazzo del Cinema, Venice Lido.
Venezia 81 JuryAbout the Jury Members of the 81st Venice International Film FestivalIsabelle Huppert has a distinguished career, winning multiple awards, including the Best Actress award at Cannes and the Coppa Volpi award at Venice. She has collaborated with notable directors like Claude Chabrol and Michael Haneke.
James Gray made his directorial debut with “Little Odessa,” earning the Silver Lion at Venice. His notable works include “We Own the Night” and “The Lost City of Z.”
Andrew Haigh gained recognition with “45 Years,” and his recent film, “All of Us Strangers,” received critical acclaim and multiple nominations.
Agnieszka Holland‘s career spans several decades, with notable films such as “Europa Europa” and “The Green Border,” the latter of which won the Special Jury Prize at Venice in 2023.
Kleber Mendonça Filho is known for his impactful films “Aquarius” and “Bacurau,” the latter of which won the Jury Prize at Cannes.
Abderrahmane Sissako directed the Oscar-nominated “Timbuktu,” his works often explore African and global issues.
Giuseppe Tornatore is celebrated worldwide for “Cinema Paradiso,” which won an Oscar for Best Foreign Language Film.
Julia von Heinz has made significant contributions to German cinema with films like “And Tomorrow the Entire World” and “Treasure,” the latter earning her the German Cinema for Peace Award.
Zhang Ziyi is a globally recognized actress for her roles in “Crouching Tiger, Hidden Dragon” and “Memoirs of a Geisha.” She recently made her directorial debut with “Poem.”
Official AwardsThe jury will award the following prizes to the competing feature films:
- Golden Lion for Best Film
- Silver Lion – Grand Jury Prize
- Silver Lion for Best Director
- Coppa Volpi for Best Actress
- Coppa Volpi for Best Actor
- Special Jury Prize
- Award for Best Screenplay
- “Marcello Mastroianni” Award for Best New Young Actor or Actress
Stay tuned for more updates and coverage of the 81st Venice International Film Festival.
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On the occasion of the world premiere of “Second Chance” in the Proxima Competition strand of the 58th Karlovy Vary International Film Festival, we met with Indian director Subhadra Mahajan, joined by her main actress, Dheera Johnson, to talk about her sensitive, snowy yet warm debut film, splendidly shot in black and white in Himachal Pradesh, teeming with lovely, caring details and full of life, where a city girl going through a difficult situation and in search of solace and healing in the mountains, slowly finds her way by forming new bonds with a local boy and his grandmother.We talk about the initial dedication, the delicate cinematography, choice and chance, the various characters and the caring bonds which develop between them, femininity, the presence of dance and the interactions between the protagonist played by Dheera Johnson and the naughty little boy, one very enthusiastic character’s “majestic discourse”, and the goddess inside the landscape.Subhadra Mahajan on the sort of family which forms in this house up in the mountains: “I think that what bonds the three of them is that at different points in the film, they become each other’s mothers.”; “Nia enables Sunny to have a second chance, and Bhemi to have a second chance, within her journey, and in trying to give them second chances is where she discovers that she has the strength to give herself a second chance.”
About the goddess scene: “For me, it represents so much about the general feminine psyche and how it ties into nature and Mother Nature, and Nia, modern girl Nia, and an old village lady like Bhemi, and someway all of us as women.“The post “Second Chance”, an interview with director Subhadra Mahajan and actress Dheera Johnson appeared first on Fred Film Radio.
FAMU alumni Adam Martinec, already saluted on the festival circuit for his shorts “Sugar and Salt” and “Anatomy of a Czech Afternoon” (which took part in the EFP’s Future Frames programme in Karlovy Vary), tells us about his debut feature, “Our Lovely Pig Slaughter“, selected in the Crystal Globe Competition of the 58th Karlovy Vary International Film Festival.
The Czech director explains why he chose the tradition of the domestic pig slaughter as the context for this relentlessly eventful family reunion and how he managed to weave the many complex, tangled dynamics, conflicts and crises at play into such a tight, exhilaratingly dramatic and often humorous script unfolding in one day, all the while staying away from simplistic dichotomies, by having a clear centre – “I’m obsessed with studying the fear of loneliness, which I believe is coded in everyone. For me, all the motifs presented here go to that same centre.“We also talk about the archaisms this family is plagued with, or at the very least hindered by, and the contradictions and frictions those generate – which, added to various practical mishaps, leads to several boiling points –, about dramatic pacing and the influence of the Czechoslovak New Wave, about working with non-professional actors including the director’s own father, about Martinec‘s dynamic musical choices, about the universal quality of the film and the recent trend, in international cinema, to turn to the countryside.The post “Our Lovely Pig Slaughter”, an interview with director Adam Martinec appeared first on Fred Film Radio.
The highly anticipated Locarno Film Festival has announced its official selection for 2024, promising an extraordinary celebration of global cinema. This year’s lineup includes 17 world premieres and features prominent filmmakers such as Hong Sang-soo and Wang Bing, alongside rising talents like Sara Fgaier and Marta Mateus. The festival, set to take place from August 7 to 17, 2024, marks its 77th edition with a diverse array of films and special tributes to renowned industry figures.
A Diverse and Dynamic SelectionArtistic director Giona A. Nazzaro expressed his enthusiasm about this year’s lineup, highlighting its representation of contemporary filmmaking. “We are very excited and happy with our selection, which we believe represents the best of contemporary filmmaking. We have taken special care in highlighting those works that, while broadening the possibilities of cinema, are also consciously trying to spark a more meaningful conversation with the audience,” stated Nazzaro. He emphasized that the festival aims to be a platform for intersectional dialogue, showcasing films that resonate with many audiences.
Among the official selection, notable entries include Hong Sang-soo‘s “By the Stream” and Wang Bing‘s “Youth (Hard Times),” both of which will vie for top honours. Italy’s representation is strong with Sara Fgaier‘s “Sulla Terra Leggeri” and “Luce,” directed by Silvia Luzi and Luca Bellino. Other exciting premieres include Ala Eddine Slim‘s “Agora,” Ben Rivers‘ “Bogancloch,” Virgil Vernier‘s “Cent Mille Milliards,” and Saulė Bliuvaitė‘s “Toxic.”
Special Tributes and AwardsThis year’s festival will honour several distinguished personalities with prestigious awards. Mélanie Laurent and Guillaume Canet will receive the Excellence Awards Davide Campari, acknowledging their extraordinary careers. Artistic director Giona A. Nazzaro praised their contributions: “Mélanie Laurent and Guillaume Canet have forged personal and identifiable acting paths for themselves over the years. Working in the service of a French and European tradition of an auteur cinema that often intersects with the reasons of a cultured popular cinema, the two performers have shown extraordinary sensitivity in the composition of their roles, thus giving rise to artistic, personal trajectories that are appreciated by audiences.”
The festival will also celebrate Jane Campion with the Pardo d’Onore Manor for her outstanding contributions to cinema. Campion will present her beloved masterpiece, “The Piano.” Producer Stacey Sher will receive the Raimondo Rezzonico Award, actor Irène Jacob will be honoured with the Leopard Club Award, and Bollywood icon Shah Rukh Khan will receive the Pardo all Carriera Ascona-Locarno Tourism Award. Additionally, Ben Burtt will be awarded the Vision Award Ticinomoda, and Claude Barras will be recognized with the Locarno Kids Award la Mobiliare.
Piazza Grande PremieresThe Piazza Grande section will feature six world premieres among its 18 titles, including Simon Jaquemet‘s “Electric Child,” Gianluca Jodice‘s “Le Déluge,” and César Díaz‘s “Mexico 86.” Notably, Paz Vega‘s directorial debut “Rita” will premiere alongside restored versions of classics such as Tarsem Singh‘s “The Fall (Restored Cut)” and Jean-Luc Godard‘s “Une Femme Est Une Femme.”
Locarno film Festival – Piazza GrandeA Festival for the Future of CinemaLocarno Film Festival continues to evolve as a beacon for transformative thinking in the cinematic world. President Maja Hoffmann emphasized the festival’s nurturing of new ideas and talents. “My belief and role as President are to help in the creation of platforms that nourish novel ideas and develop new thinking. Locarno has always been the cradle in which vital narratives are born, and it has, over a long history, opened the world to important voices in cinema and experimental approaches to creating films and experiences,” Hoffmann said.
Chief Operating Officer Raphaël Brunschwig highlighted the festival’s commitment to innovation and the broader cultural context. “For 11 days in August, Locarno transforms itself into a unique site of intensification – what an impressive concentration of relationships, of stimuli, of ideas! Dialogue and exchange rule the day, connecting different generations and providing the fertile soil from which the future of cinema can grow,” Brunschwig noted.
The 77th edition of the Locarno Film Festival promises to be a remarkable event, showcasing a vibrant mix of established auteurs and emerging filmmakers. As Giona A. Nazzaro aptly put it, the festival’s mission is to remain a “platform for intersectional dialogue,” showcasing films that challenge and engage audiences. This year’s edition promises various genres and styles, ensuring something for every cinema lover.
Visit the official Locarno Film Festival website to view the complete list of films and details about the event.
Join us in Locarno from August 7-17, 2024, to celebrate the magic of cinema!
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At the Karlovy Vary International Film Festival, we talked with Hilke Rönnfeldt, a rising talent selected for the FUTURE FRAMES program. Her short film “A Study of Empathy”, which has already won the Pardo d’Oro for Best Short at the Locarno Film Festival, sharply examines the art world and human interaction. The film follows art student Penelope and her subject, Dana, whose meeting takes an unexpected turn, leaving Dana profoundly disturbed.
Introducing “A Study of Empathy”When asked to describe “A Study of Empathy“, Hilke Rönnfeldt characterizes it as “a study of empathy indeed. The film follows Dana, who receives a visit from a performance artist student. The experience turns out differently than expected, leaving Dana puzzled about her feelings and self-perception,” she explains.
Inspiration Behind the FilmHilke Rönnfeldt shares the dual inspirations for her film “A Study of Empathy“. “I find empathy fascinating—it’s so individual. What one person considers empathy might not be the same for another. I wanted to explore this through fiction,” she says. “Additionally, I once participated in an art performance that left me deeply puzzled and reflective about my reactions and feelings. These experiences inspired the story.”
Impact of Digital Interactions on EmpathyReflecting on contemporary society’s focus on digital interactions, Hilke Rönnfeldt notes, “There’s a shift from in-person contact to online expressions, where we lack the visual and emotional cues. This change has impacted how we relate to each other and was a significant aspect of my research for the film.”
Role of Art and Cinema in Emotional ExperienceDiscussing the role of art and Cinema, Hilke Rönnfeldt asserts, “Cinema is one of the strongest mediums to explore and reflect emotions. Combining image, sound, and dialogue allows for a nuanced expression of feelings. For me, cineCinemaps identify and articulate emotions that might otherwise remain unspoken.”
Challenges in Making “A Study of Empathy”Hilke Rönnfeldt recounts the main challenge of making her film “A Study of Empathy”: “The production had to go very fast as it was a graduation project at Super 16 in Copenhagen. We lost our initial location two months before shooting, so everything from scriptwriting to securing new locations had to be done quickly,” she explains. “Additionally, directing intimate scenes required meticulous planning to ensure everyone felt comfortable and respected.”
Audience Reactions as a Study of EmpathyReflecting on the audience’s reactions, Rönnfeldt finds it fascinating. “The film invited a range of interpretations—some judged the characters harshly, while others were more empathetic. It’s interesting to see how personal experiences influence perceptions of empathy,” she says.
Compelling Nature of Short FilmsHilke Rönnfeldt praises the short film format for its precision and freedom. “Short films allow for a concentrated exploration of themes. The audience’s attention and energy are fully engaged, which makes every frame significant,” she notes.
Future ProjectsHilke Rönnfeldt is working on new projects, including a short film about floating border shapes and a feature film script titled “The Deep Sea Blue”. She is excited to continue exploring themes of borders and emotional boundaries in her future work.
Experience at Future FramesDescribing her experience at the FUTURE FRAMES program, Rönnfeldt says, “It was amazing and intense. Meeting other filmmakers and seeing their diverse works was incredibly inspiring. I’m grateful to German Films and the European Film Promotion for this opportunity.“
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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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A talk with the immense filmmaker and documentary maestro Sergei Loznitsa on his latest non-fiction work, “The Invasion”, directed remotely from Berlin, where he resides, with the help of the talented cinematographers Evgeny Adamenko and Piotr Pawlus. The film premiered in Cannes, and is now screening at the 58th Karlovy Vary Film Festival in the Horizons section.
On the nature of the invasion of the title: “I’m not interested in showing the enemy – it never appears in the film: it’s the result of their action that appears, and we can see it in every minute of this film. We can feel that this war exists everywhere, and it influences society, and it transforms it, and this is what was interesting to me: how people find force and capacity, will and dignity, to protect themselves and to resist in these circumstances. And also, you can openly see that it’s impossible to defeat this people, impossible! […] People will resist until the last moment of their lives, and this gives strong emotion, and a strong image of a nation, and I wanted to show the Ukrainian people as a nation, because this nation is being created right now, it is being built right now, in this conflict – unfortunately, it has always happened like that in human history: people have united during wars, facing an aggression, against some enemy […]. This is unfortunate, I would prefer a better way to build a nation than that, but this is what I wanted to show.“On obliterating culture: “I’m always asking myself how it is possible to destroy so completely culture, architecture, landscape, everything… On the front line, there’s no house left, they destroyed everything completely. What gives an enemy the possibility to destroy all these things that the culture produced: the monasteries, the churches, the buildings…? [Even after the barbarian invasions], they discovered all this knowledge from Greek or Roman times…, [but] with the way war happens now, it’s impossible. This territory is now a complete desert. Just to find all the mines, they calculate that it will take fifteen years to clean the territory… And the ground will be poisoned… I made a short film in a museum in Kyiv: thirty different civilisations were there. They have disappeared of course, but on this territory, there were many different civilisations, so this is much deeper than just this society and that society, this country and that country, this language and that language. It’s much deeper. Everything that’s happening now, I think that everybody should work on it. Of course, I understand that the Ukrainians have to protect themselves and fight and that they need weapons […], but it’s strange that in order to end this war, we have to bring in more and more weapons. There is something paradoxical in this sentence.“On the episode where huge piles of books are destroyed: “This is a result, a reaction to the war, and it is understandable but you cannot accept that. I cannot accept that… And it’s not only Dostoyevsky, it’s all the books printed in Russian! Balzac, Zola… For me, it means destroying books as a concept because when you start with that, the next step is destroying your own books – and in the footage, I also found some books in Ukrainian! We have to think about that, or at least discuss that.“The post “The Invasion”, an interview with director Sergei Loznitsa 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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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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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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Disney and Pixar’s “Inside Out 2” marks the return to the mind of newly teenager Riley and “Anxiety” comes up The post “Inside out 2”, interview with director Kelsey Mann and producer Mark Nielsen appeared first on Fred Film Radio.
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.
The post “40° N, 73° W”, Interview with director Sandy Williams appeared first on Fred Film Radio.
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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Spectateurs! special screening in Cannes 77, is Arnaud Desplechin’s love letter to cinema and its audience The post “Spectateurs!” interview with director Arnaud Desplechin appeared first on Fred Film Radio.
Ghost Trail, in Cannes 77, sees winner of the UCR best actor award 2022 Adam Bessa coming back as protagonist The post “Ghost Trail”, interview with actor Adam Bessa appeared first on Fred Film Radio.
My sunshine is a delicate coming-of-age inspired by director Okuyama’s own childhood and experience in figure skating The post “My Sunshine”, interview with director Hiroshi Okuyama appeared first on Fred Film Radio.
Everybody loves Touda in Cannes Premiere, is Ayouch’s homage to Sheikhats, the strong independent singers of Moroccan tradition The post “Everybody loves Touda”, interview with director Nabil Ayouch and actress Nisrin Erradi appeared first on Fred Film Radio.
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…“
The post “Visiting Hours”, an interview with the actress Isabelle Huppert appeared first on Fred Film Radio.
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.
The post Winners of the 77th Edition of the Festival de Cannes appeared first on Fred Film Radio.
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”.
The post “Motel Destino”, interview with director Karim Aïnouz appeared first on Fred Film Radio.
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" by Cristóbal León and Joaquín Cociña explores history, politics, and the surreal in an imaginative blend of theatre, sci-fi, and animation. The post "The Hyperboreans", interview with directors Cristóbal León and Joaquín Cociña appeared first on Fred Film Radio.
"Films have the power to evoke a range of emotions in viewers, from worry to excitement. But nowadays cinema is a big business which is currently failing" The post Interview with the jury president Andrew Dominik appeared first on Fred Film Radio.
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.
The post “When This is All Over”, Interview with Director Kevin Mayuga appeared first on Fred Film Radio.
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.
The post “Three Seasons”, Interview with Director Tony Bui appeared first on Fred Film Radio.
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, after Locarno is finally landing the 37th Bolzano Film Festival competition The post “Touched”, interview with director Claudia Rorarius appeared first on Fred Film Radio.
Dancing Queen by Norwegian director Aurora Gossé lands at the Bolzano Film Festival after premiering in the Berlinale generation. The post “Dancing Queen”, interview with director Aurora Gossé appeared first on Fred Film Radio.
The 39th Lovers Film Festival's Best Film, David Lambert's "Turtles," portrays themes of ageing, individuality, and love. The post "Turtles", interview with director David Lambert appeared first on Fred Film Radio.
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My Stolen planet by Iranian director Farahnaz Sharifi, after premiering at the latest Berlinale, is screening in the RealeNonReale sectionat the 37°Bolzano Film Festival . The post “My stolen planet”, interview with director Farahnaz Sharifi appeared first on Fred Film Radio.
Südsee - Salty Water, screening in competition at the 37°Bolzano Film Festival and starring Liliane Amuat is the third feature by german director of Glück/Bliss, Henrika Kull. The post “Südsee – Salty Water”, interview with director Henrika Kull and actress Liliane Amuat appeared first on Fred Film Radio.
The Head of IDM Film Commission Südtirol, Birgit Oberkofler, launches the first edition of the international and inclusive programme to support the production of short films. The post Birgit Oberkofler, interview with the Head of IDM Film Commission Südtirol appeared first on Fred Film Radio.
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Ginevra Elkann, director of "I Told You So", on heatwaves, addiction and her star-studded cast The post "I Told You So", interview with director Ginevra Elkann appeared first on Fred Film Radio.
Laura Luchetti, director of "The Beautiful Summer", on capturing one young woman's sexual awakening in 1938 Turin The post "The Beautiful Summer", interview with director Laura Luchetti appeared first on Fred Film Radio.
Drift is Caméra d'Or-winning film director Anthony Chen’s English-language debut, coming out in UK cinemas on 29 march The post “Drift”, interview with director Anthony Chen appeared first on Fred Film Radio.
Reaction NYC will create the city's first audiovisual narrative using videos produced primarily with smartphones, by people living in and passing through NYC. The post "Reaction NY", interview with Pietro Jona and Francesca Mor appeared first on Fred Film Radio.
Lukas Moodysson is the protagonist of Europe, Now! the 42nd Bergamo Film Meeting’s exploration of contemporary European cinema The post Lukas Moodysson, interview with the protagonist of Europe, Now! at the 42° Bergamo Film Meeting appeared first on Fred Film Radio.
Sasquatch Sunset, premiering at the 74th Berlinale is a dramedy depicting and imagining the real life of a Sasquatch family The post “Sasquatch Sunset”, interview with directors David and Nathan Zellner appeared first on Fred Film Radio.
The great yawn of history by Aliyar Rasti , presented in the Encounters section at the 74th Berlinale, was inspired by the director’s fever dream. The post “The great yawn of history”, interview with director Alyar Rasti appeared first on Fred Film Radio.
Some rain must fall, presented in the Encounters section at the 74th Berlinale, is Chinese director Qui Yang’s debut feature The post “Some rain must fall”, interview with director Qiu Yang appeared first on Fred Film Radio.
Matt and Mara, presented in the Encounters at the 74th Berlinale, is the second collaboration between director Kazik Radwanski and [...] The post “Matt and Mara”, interview with director Kazik Radwanski and actor Matt Johnson appeared first on Fred Film Radio.
With "Made in England: The Films of Powell and Pressburger" we rediscover two masters of filmmaking thanks to the love [...] The post "Made in England: the films of Powell and Pressburger", interview with the executive producer Thelma Shoonmaker appeared first on Fred Film Radio.
A family by Christine Angot, in Encounters at the 74th Berlinale, is a documentary about her facing her family after she experienced the brutality of incest. The post “A Family”, interview with director Christine Angot appeared first on Fred Film Radio.
'Black Tea' by Abderrahmane Sissako tells the story of African migration to China and thus also of new global dreams and utopias. The post ‘Black Tea', interview with director Abderrahmane Sissako appeared first on Fred Film Radio.
Vogter, in competition at the 74th Berlinale is the new film by director of The Guilty, Gustav Möller, here exploring power dynamics in the fascinating context of a prison. The post “Vogter”, interview with director Gustav Möller appeared first on Fred Film Radio.
Yorgos Zois explores the surreal intersection of love and loss in "Arcadia," blurring reality with metaphysics in a haunting coastal setting. The post "Arcadia", interview with director Yorgos Zois appeared first on Fred Film Radio.
Isabelle Huppert in "My New Friends" by André Téchiné at Berlinale 74 explores moral complexities and emotional turmoil. The post "My New Friends", interview with actress Isabelle Huppert appeared first on Fred Film Radio.
A transformative journey through the Himalayas with Min Bahadur Bham's "SHAMBHALA", a cinematic adventure blending tradition and empowerment. The post "Shambhala": interview with director Min Bahadur Bham appeared first on Fred Film Radio.
At the Berlinale, the profound journey of "ARCHITECTON" as director Victor Kossakovsky reshapes our vision of the world. The post "Architecton": interview with director Victor Kossakovsky appeared first on Fred Film Radio.
Devil’s Bath by Veronika Franz and Severin Fiala, in competition at the 74th Berlinale, shows the horrific side of the historical phenomenon of “suicide by proxy” The post “Devil’s Bath”, interview with directors Veronika Franz and Severin Fiala appeared first on Fred Film Radio.
From Hilde with Love by Andreas Dresen, in competition at the 74th Berlinale tells the story of German Red Orchestra’s young activist Hilde Coppi The post “From Hilde with Love”, interview with director Andreas Dresen appeared first on Fred Film Radio.
Assayas faces familiar ghosts in his most personal and sincere work "Suspended Time" in competition at the 74th Berlinale The post "Suspended Time", interview with director Olivier Assayas appeared first on Fred Film Radio.
Bruno Dumont's "The Empire" is an epic, deeply satirical fight between good and evil in the landscapes of a North-French seaside village. The post "The Empire", roundtable with Bruno Dumont appeared first on Fred Film Radio.
Join director Mascha Halberstad on a heartwarming journey of friendship and laughter in 'Fox and Hare Save the Forest' at Berlinale. The post "Fox and Hare Save the Forest": interview with director Mascha Halberstad appeared first on Fred Film Radio.
The mesmerizing world of 'PEPE', where director Nelson Carlo De Los Santos Arias blurs the lines between reality and imagination. The post "Pepe": interview with director Nelson Carlo de los Santos Arias appeared first on Fred Film Radio.
"Who By Fire", a monumental and dense film by Philippe Lesage, is the story of a disenchantment of a young man, Jeff, that has to realise the fragility and selfishness of one of his idols, in a world where adults are not an example anymore to be followed. The post "Who By Fire", interview with the director Philippe Lesage appeared first on Fred Film Radio.
"Who Do I Belong To, by Meryam Joobeur, in Competition at the 74th Berlinale, is a compelling drama of sorrow and pain and growth of a mother living in a secluded village in North Tunisia. A visually compelling film. The post "Who do I belong to", interview with the director Meryam Joobeur appeared first on Fred Film Radio.
"Cidade; Campo", two places that talk and confront in the new Juliana Rojas film, where the theme of migrating, of changing life and place is seen in a reverse relation between the philosophy of the city and that of the country side. The post "Cidade; Campo", interview with the director Juliana Rojas appeared first on Fred Film Radio.
Mamadou Dia explores grief and healing in "Demba" a poignant narrative set in Senegal, igniting vital conversations about mental health. The post "Demba": interview with director Mamadou Dia appeared first on Fred Film Radio.
With " Ther Visitir" Bruce La Bruce brings back his outrageous and bold vision of contemporary society and its relation with sex and sexual liberation, still a taboo in our so called modern times. Using Pasolini's Teorema as inspiration, he is here to startle us and make us think. The post "The Visitor", interview with the director Bruce La Bruce appeared first on Fred Film Radio.
Another End by Piero Messina, in competition at the 74th Berlinale sees Renate Reinsve in two roles, Zoe and Ava The post “Another End”, interview with actress Renate Reinsve appeared first on Fred Film Radio.
Another End, Piero Messina’ second feature film premiering at the 74th Berlinale is a sci-fi romantic fable with a melancholic Gael Garcia Bernal The post “Another End”, interview with Gael Garcia Bernal and Bérènice Bejo appeared first on Fred Film Radio.
"Young Hearts" is the tale of first love, when you understand that something inside of you is happening but you cannot figure it out, yet. It is a fairytale, a positive stream of sweetness and understanding, that enlightens the life of two young kids during their first summer of love. The post "Young Hearts", interview with the director Anthony Shatteman appeared first on Fred Film Radio.
In "No Other Land" we all can learn more about the situation in the Gaza strip, and about the actual politics of the occupants of the land of the strip. Yuval Abraham, an Israeli journalist, and Basel Adra, a Palestinian activist, are friends and fight together to let the world [...] The post "No Other Land", interview with the directors Basel Adra and Yuval Abraham appeared first on Fred Film Radio.
With "A Different Man" we go down the path of self acceptance and the variations of it, starting form an unusual point of view and with an even more unexpected turn of events. Not everything we could wish for would turn out the way we wanted, inside of us. The post "A Different Man", interview with the director Aaron Schimberg and the actor Sebastian Stan appeared first on Fred Film Radio.
Crossing by Levan Akin, opening film of the Panorama Section at the 74th Berlinale is an ode to solidarity, acceptance and a love letter to Istanbul The post “Crossing”, Interview with director Levan Akin appeared first on Fred Film Radio.
The EFM Director Denis Ruh, presents the 2024 edition of the Berlinale Film Market focusing on AI and Italian cinema industry The post Denis Ruh, Interview with the Director of the European Film Market 2024 appeared first on Fred Film Radio.
You Hurt my feelings by director Nicole Holofcener is finally coming out in Italian cinemas after Sundance and Torino Film Festival The post “You hurt my feelings”, interview with director Nicole Holofcener appeared first on Fred Film Radio.
The Artistic Director of the Berlinale, Carlo Chatrian, presents the 74th edition of the festival paying homage to Martin Scorsese and Edgar Reitz The post Carlo Chatrian, Interview with the Artistic Director of the 74th Berlinale appeared first on Fred Film Radio.
Discover Moldovai's bold debut, exposing Hungary's conservative grip on education, freedom, and expression. The post "Without Air" interview with director Katalin Moldovai appeared first on Fred Film Radio.
An unforgettable debut: Mia McKenna Bruce brings Tara to life in a vibrant portrayal in How To Have Sex by Molly Manning Walker The post "How to Have Sex" interview with the actress Mia McKenna Bruce appeared first on Fred Film Radio.
In her first feature film, Walker sparks conversations on consent, resilience, and the nuanced world of teenage experiences. The post "How to Have Sex" interview with the director Molly Manning Walker appeared first on Fred Film Radio.
1489, director Shoghakat Vardanyan’s debut feature celebrates its italian premiere at the 35h Trieste Film Festival The post “1489”, interview with director Shoghakat Vardanyan appeared first on Fred Film Radio.
Wish by by Oscar®-winning director Chris Buck and Fawn Veerasunthorn is the perfect celebration of Disney Animation Studios' 100th Anniversary The post “Wish”, interview with producers Peter Del Vecho and Juan Pablo Reyes Lancaster Jones appeared first on Fred Film Radio.
In this interview with Mercedes Fernandez, director of the Torio Film Lab, we find out the features of the 2023edition, especially the birth of a new program, Comedy Lab. The post Mercedes Fernandez, director of Torino Film Lab appeared first on Fred Film Radio.
"The Beer Girl in Yangon" is a personal family tale, by Sein Lyan Tun, a kind of autobiography of his sister and himself. The film project has raised interest in many programs and landed at TFL Feature Lab 2023, to continue his journey. The post "The Beer Girl in Yangon", interview with the director Sein Lyan Tun appeared first on Fred Film Radio.
"Goldfish: Unveiling the Heartfelt Journey" - Delve into the emotional layers of the film through our exclusive interview with Pooja Chauhan. Discover the film's essence, from its inception to the poignant portrayal of relationships. The post "Goldfish", Interview with Executive Producer Pooja Chauhan appeared first on Fred Film Radio.
Explore Peter J. Kirby's poignant insights into producing "Fatima," a riveting film spotlighting societal challenges. Unveil the inspiring story behind the camera. The post "Fatima", Interview with Producer Peter J. Kirby appeared first on Fred Film Radio.
“Footprints on Water: Exploring Cultural Attitudes in Filmmaking - Join Adil Hussain as he unveils the nuances and challenges within Bollywood and Hollywood, offering a deep dive into the creative process.” The post “Footprints on Water,” interview with actor Adil Hussain appeared first on Fred Film Radio.
Unveiling the Tiger Connection - Join Suraj Sharma on a journey behind the scenes of Life of P, experiencing the captivating anecdotes from this cinematic adventure. The post “Life of P,” Interview with actor Suraj Sharma appeared first on Fred Film Radio.
The Moor is Daphne Di Cinto’s debut short film that brings to the surface the very powerful and hidden story of Alessandro de’ Medici The post “Il Moro – The Moor”, interview with director Daphne Di Cinto and actors Alberto Boubakar Malanchino and Paolo Sassanelli appeared first on Fred Film Radio.
"Watch It Burns" by Makbul Mubarak is one of the projects helped and sustained by Torino Film Lab in the Script Lab programme , of its 2023 edition. The film won the IEFTA Award. The post "Watch It Burn", inetrview with the director Makbul Mubarak appeared first on Fred Film Radio.
"Sealskin" by Irene Moray is a film about violence o women in mder societies, narrated with a surreal and poetic tone that makes it even more penetrating. The post "Sealskin", interview with the director Irene Moray appeared first on Fred Film Radio.
"Family Time" Tia Kouvo's feature continues its festival tour, started at Berlinale 2023, with a screening at the Torino Film Festival, in the section dedicated to the Torino Film Lab productions. The film about a singular Christmas party has resonated with audiences around the world. The post "Family Time", interview with the director Tia Kouvo appeared first on Fred Film Radio.
Fred Film Radio sat down with Tina Bianchi from the Roma Lazio Film Commission during Focus London 2023 The post Focus London 2023, Tina Bianchi, Head of Co-Production Development at Roma Lazio Film Commission appeared first on Fred Film Radio.
Fred Film Radio had the chance to speak with Cristina Priarone, the President of the Italian Film Commissions The post Focus London 2023, Cristina Priarone, President of the Italian Film Commissions appeared first on Fred Film Radio.
During Focus London 2023, we spoke to Floriano Buono about his role as Head of Production at Fondazione Veneto Film Commission. He shared the importance of being able to meet representatives of the market from the UK and the US face-to-face during the event, needing at times to be a [...] The post Focus London 2023, Floriano Buono, Head of Production at Fondazione Veneto Film Commission appeared first on Fred Film Radio.
We spoke with Matteo Garnero, Head of Marketing at the Genova Liguria Film Commission, during Focus London 2023 The post Focus London 2023, Matteo Garnero, Head of Marketing at the Genova Liguria Film Commission appeared first on Fred Film Radio.
Do Not Expect too much from the end of the world, screening out of competition at the 41st Torino Film Festival is a feminist tale on the contradictions of modern society. The post “Do Not Expect too much from the end of the world”, interview with the actress Ilinca Manolache appeared first on Fred Film Radio.
Giovanni Sacchi, Director of the Italian Trade Agency, speaks to Fred Film Radio during Focus London 2023 The post Focus London 2023, Giovanni Sacchi, Director of the Italian Trade Agency appeared first on Fred Film Radio.
Focus London 2023, Roberto Lo Crasto, Head of Production at Genova Liguria Film Commission The post Focus London 2023, Roberto Lo Crasto, Head of Production at Genova Liguria Film Commission appeared first on Fred Film Radio.
Director Joanna Hogg, member of the international jury of the 20th Marrakech IFF: 'I try not to watch too much. You're so porous as a filmmaker, I don't want to be influenced, which is why I prefer to read rather than watch.' The post Interview with Joanna Hogg, member of the international jury at the 20th Marrakech IFF appeared first on Fred Film Radio.
Simon Baker: "At the moment, I'm enjoying having a bit of a Renaissance acting again for myself". The post "Conversation with" actor and director Simon Baker at the 20th Marrakech IFF appeared first on Fred Film Radio.
Actress Camille Cottin about being in the jury of the international competition (1st and 2d features) of the Marrakech IFF : "It's about trying to understand what the ambition of the film was, but also, it's all about sensibility." The post Interview with actress Camille Cottin, member of the international jury at the 20th Marrakech IFF appeared first on Fred Film Radio.
Arturo a los 30, in competition at the 41st Torino Film festival, is Martín Shanly’s second feature following up on his study on people who are not keeping up with society expectations. The post “Arturo a los 30”, interview with director Martín Shanly appeared first on Fred Film Radio.
Carolina Markowicz about "Toll", competing in Marrakech: 'It's a kind of hypocrisy that happens a lot in Brazil. We did have a president who said he'd prefer to have a dead son than a gay son.' The post "Toll (Pedágio)", interview with the director Carolina Markowicz and actress Maeve Jinkings appeared first on Fred Film Radio.
White Plastic Sky is Tibor Bánóczki and Sarolta Szabó’s first feature animation film, screening at the 41st Torino Film Festival in competition. The post “White Plastic Sky”, interview with directors Tibor Bánóczki and Sarolta Szabó appeared first on Fred Film Radio.
Director Dee Rees, member of the international jury in Marrakech : "You get to witness everyone’s first love". The post Interview with director Dee Rees, member of the international jury at the 20th Marrakech IFF appeared first on Fred Film Radio.
Masterclass in Marrakech. Tilda Swinton: "I feel embarrassed to describe myself as an actor, because I'm not really interested in interpreting". The post "Conversation with" Tilda Swinton, performer, screenwriter, producer at the Marrakech IFF appeared first on Fred Film Radio.
Élise Girard, director and scriptwriter : "I think that's what cinema's for: to say very important, deep things. Every word has been very carefully chosen, it's very precise, like mathematics." The post "Sidonie in Japan", interview with director Élise Girard and actress Isabelle Huppert appeared first on Fred Film Radio.
Willem Dafoe ahead of his masterclass in Marrakech: "I like to be part of someone's vocabulary". The post "Conversation with" at the 20th Marrakech IFF, interview with actor Willem Dafoe appeared first on Fred Film Radio.
The intensity of the narrative of "Kalak" and the haunting beauty of the surrounding are the perfect combination for a film that is deep and hard and moving. The post "Kalak", interview with the director Isabella Eklof appeared first on Fred Film Radio.
The professor of Audiovisual Translation Pilar Orero, in Rome for Audecon, remarks that media accessibility is a human right that should be always granted. The post Pilar Orero, interview with the professor of Audiovisual Translation at the Universitat Autònoma de Barcelona appeared first on Fred Film Radio.
Embark on a cinematic voyage with director Amanda Nell Eu as she delves into the horrors of puberty and societal fears surrounding the female body. 'Tiger Stripes,' her latest creation, weaves a tapestry of coming-of-age and monstrous femininity. Join us in unraveling the layers of Eu's inspiration and the unique [...] The post "Tiger Stripes", interview with Amanda Eu appeared first on Fred Film Radio.
"My movie plays on the idea of the collective unconscious, in a moment in which we live our lives so connected even if we are distant" The post "Dream Scenario", interview with director Kristoffer Borgli appeared first on Fred Film Radio.
"We live in a digital society that isolates us from each other and makes it difficult to create moments of solidarity. But community forms are possible" The post "The Old Oak", interview with director Ken Loach and screenwriter Paul Laverty appeared first on Fred Film Radio.
Step into the enigmatic world of Pedro Costa as he shares the profound intricacies of 'Vitalina Varela' in an exclusive interview with Fred Film Radio at the 64th Festival dei Popoli. Costa delves into the poetic dimensions of his filmmaking, the collaboration with Vitalina Varela, and the exploration of human [...] The post "Vitalina Varela", interview with the director Pedro Costa appeared first on Fred Film Radio.
oin Fred Film Radio in an exclusive interview with Liv Ullmann as she delves into her collaboration with Ingmar Bergman, the profound impact of 'Persona,' and the enduring resonance that draws audiences back decades later. Ullmann shares her insights on the creative process alongside Bibi Andersson and the film's portrayal [...] The post "Persona", interview with the actress Liv Ullmann appeared first on Fred Film Radio.
Join Fred Film Radio as we delve into the genesis of 'Rimini' with acclaimed director Ulrich Seidl. From the intricate character of Richie Bravo to the haunting backdrop of Rimini in winter, Seidl shares insights into the creation of a film that captures the constant struggle for survival, financial difficulties, [...] The post Interview with Ulrich Seidl at the 64th Festival dei Popoli appeared first on Fred Film Radio.
Join David Michod on a cinematic odyssey as he shares the delicate dance of filmmaking, the challenges of battle scenes, and the joy of creative collaboration. Discover the soulful selection of Timothée Chalamet and the evolution of Michod's relationship with Netflix. Dive into the mind of a director as he [...] The post "The King", interview with David Michod who unveils the fragile art of filmmaking appeared first on Fred Film Radio.
Join us in a captivating discussion with Anupama Chopra as she explores the profound influence of film festivals and shares her perspective on their significance in the world of cinema. The post Interview with Anupama Chopra, director of the Jio MAMI Mumbai Film Festival appeared first on Fred Film Radio.
Explore Kareena Kapoor Khan's journey into the world of detective stories and her exhilarating role in "The Buckingham Murders." Join us as we delve into her perspective as both an actor and a first-time producer. The post "The Buckingham Murders", interview with director Hansal Metha and actress Kareena Kapoor Khan appeared first on Fred Film Radio.
Jessie Buckley and Riz Ahmed, in a unique romantic journey, discovering the essence of love beyond the surface, now on Apple TV+. The post "Fingernails", interview with Christos Nikou appeared first on Fred Film Radio.
Pekka Strang and Jari Virman protagonists of a darkly comedic tale of two gravediggers entangled in shady dealings and family problems. The post "Death is a Problem for the Living", interview with actors Pekka Strang and Jari Virman appeared first on Fred Film Radio.
Il viaggio di Manon, una giovane appassionata di hockey, tra le montagne svizzere, alla ricerca del padre scomparso. The post "Riviere", intervista al regista Hugues Hariche appeared first on Fred Film Radio.
"If we allow the suffering of others to be suffocated and hidden, then history is destined to repeat itself" The post "The Zone of Interest", interview with director Jonathan Glazer appeared first on Fred Film Radio.
The 2023 line up showcases British filmmaking and acting talent, with many of Britain’s most enduring and well-known faces, including Sir Anthony Hopkins, Timot The post "British Film Festival", interview with festival director Kim Petalas appeared first on Fred Film Radio.
Haley Bennett's portrayal of Barbe-Nicole Clicquot in "Widow Clicquot" reveals a journey of passion, innovation, and strength. The post "Widow Clicquot", interview with the actress Haley Bennett appeared first on Fred Film Radio.
Directed by Thomas Napper, the film "Widow Clicquot" is the inspiring story of a pioneer in the champagne industry. The post "Widow Clicquot", interview with the director Thomas Napper appeared first on Fred Film Radio.
Posso Entrare? ( Can I come in) - An Ode to Naples by Trudie Styler is a love letter to the Italian city. The post "Posso Entrare? – An Ode to Naples" , interview with director Trudie Styler appeared first on Fred Film Radio.
Jeremy Piven and his sister Shira bring to the cinema Arthur Miller's story about the Jewish dancer who danced in front of Hitler. The post "The Performance": interview with the actor Jeremy Piven and the director Shira Piven appeared first on Fred Film Radio.
Woken is Alan Friel's first feature film that through the psychological sci-fi thriller aims to send an enviromental message. The film is a co-production between Ireland and Italy. The post "Woken", interview with director Alan Friel appeared first on Fred Film Radio.
"This documentary shows the darker and nocturne side of a genius ad Michel Gondry" The post "In Bed with Gondry", interview with director François Nemeta appeared first on Fred Film Radio.
High and Low: John Galliano is the new documentary by Oscar-winning Kevin Macdonald about the rise and fall of the famous designer and artist of the title. The post "High and Low: John Galliano", interview with director Kevin Macdonald appeared first on Fred Film Radio.
Eddie Tamir, JIFF artistic director, talks about how the Holocaust has become a genre that is explored by both Jewish and non-Jewish filmmakers. The post "Jewish International Film Festival" interview with artistic director Eddie Tamir appeared first on Fred Film Radio.
"How to have sex" , the opening film of Alice nella Città 2023, is DOP Molly Manning Walker's directorial debut and is about the sexual pressure the teenage world is built around The post "How to have sex", interview with Director Molly Manning Walker and actress Mia McKenna Bruce appeared first on Fred Film Radio.
At the Rome Film Fest, the great opportunity to watch one of the greatest performances of Maria Callas, in "Callas Paris, 1958". The post "Callas Paris, 1958": interview with the director Tom Volf appeared first on Fred Film Radio.
Golden Eye Award at the Zurich Film Festival, Diane Kruger talks about her career and her role models The post Interview with actress Diane Kruger, Golden Eye Award at the Zurich Film Festival appeared first on Fred Film Radio.
Radical by director Christopher Zalla is Sundance Audience Award winner and it tells the real story of a revolutionary school teacher The post "Radical", interview with director Christopher Zalla appeared first on Fred Film Radio.
In Wildcat, Ethan Hawke works with his daughter as the protagonist in the role of American author Flannery O’Connor and explores how creativity and spirituality can intersect The post "Wildcat", interview with director Ethan Hawke appeared first on Fred Film Radio.
Entrevista exclusiva con Cristi Puiu, director of "MMXX", in competition at the 71st San Sebastian Film Festival. The post "MMXX", interview with director Cristi Puiu appeared first on Fred Film Radio.
Exclusive interview with Robin Campillo and Nadia Tereszkiewicz, director and protagonist of "L'Île Rouge", the first film by the french director in competition at San Sebastian. The post "L'Île Rouge", interview with director Robin Campillo and actress Nadia Tereszkiewicz appeared first on Fred Film Radio.
Exclusive interview with Vincent Maraval, CEO of Goodfellas, on the state of the film industry today The post Vincent Maraval, interview with the CEO of GoodFellas (formerly Wild Bunch) appeared first on Fred Film Radio.
Rowan Woods, Festival Programmer, London Film Festival, discusses what's in store for the 67th edition. The post London Film Festival 2023, interview with Rowan Woods, Festival Programmer appeared first on Fred Film Radio.
Exclusive interview with Kitty Green, director of "The Royal Hotel", screening in San Sebastian after premiering in Telluride and Toronto. The post "The Royal Hotel", interview with director Kitty Green appeared first on Fred Film Radio.
Exclusive interview with Craig Gillespie, director of "Dumb Money", at the San Sebastián International Film Festival. The post "Dumb Money", interview with director Craig Gillespie appeared first on Fred Film Radio.
Exclusive interview with director Noah Pritzker and actor Griffin Dune for "Ex-husbands", premiering at the San Sebastian Film Festival. The post "Ex-Husbands", interview with director Noah Pritzker and actor Griffin Dune appeared first on Fred Film Radio.
Exclusive interview with James Norton and Miles Haizer, actors in the film "Ex-Husbands" by Noah Pritzker, screening in San Sebastian Film Festival. The post "Ex-Husbands", interview with actors James Norton and Miles Haizer appeared first on Fred Film Radio.
Exclusive interview with Christine Vachon, producer of "May December" and "Past Lives", screening at San Sebastian Film Festival 2023. The post "May, December" and "Past Lives", interview with producer Christine Vachon appeared first on Fred Film Radio.
Exclusive interview with Todd Haynes, director of "May December", in Zinemaldia San Sebastiano Film Festival after Cannes Film Festival. The post "May, December", interview with director Todd Haynes appeared first on Fred Film Radio.
Exclusive Interview with Christos Nikou, director of Fingernails, at the San Sebastián International Film Festival and soon on Apple TV+ The post "Fingernails", interview with director Christos Nikou appeared first on Fred Film Radio.
For more than two decades the Festival has celebrated Italian language, culture and la dolce vita with an ever-growing audience. Listen to Festival director Ely The post Italian Film Festival, interview with festival director Elysia Zeccola appeared first on Fred Film Radio.
With Final Cut, the Venice Festival gives the opportunity to a selected slate of titles coming from African countries and some Arab ones to meet with decision makers and producers, to help them complete their films. The post Final Cut In Venice, interview with Alessandra Speciale appeared first on Fred Film Radio.
Il Queer Lion Award anche quest'anno ha scelto il suo vincitore , in una selzeione ricca e di alta qualità, e più di ogni altra volta centrata e esaustiva. Vince Housekeeping for Beginners di Goran Stolevski The post Queer Lion Award, intervista con Daniel Casagrande e Marco Busato appeared first on Fred Film Radio.
An exclusive interview with the director Julia Fuhr Mann. The question proudly raised in "Life is Not A Game, But I Am Winning" is: If victory is written by victors, where does that leave those who were never allowed to be part of the game? The post "Life Is Not A Competition, But I Am Winning", interview with the director Julia Fuhr Mann appeared first on Fred Film Radio.
"Ryuichi Sakamoto: Opus" is a celebration, a mystical experience, a final testimony of the immense value of one of the best composers of out times. The heartbreaking simplicity of greatness. The post "Ryuichi Sakamoto: Opus", interview with the director Neo Sora and the D.o.P Bill Kirsten appeared first on Fred Film Radio.
Anna Magnani, protagonist of the official image of the eighteenth edition of the Rome Film Festival, a moving tribute fifty years after her death.
The post Rome Film Festival: Anna Magnani protagonist of the Official Image appeared first on Fred Film Radio.
British director Moin Hussain of "Sky Peals" on exploring identity, loneliness and the human desire for connection through his sci-fi-inflected, service station-set feature debut.
The post “Sky Peals”, interview with director Moin Hussain appeared first on Fred Film Radio.
The 80th Venice International Film Festival, part of La Biennale di Venezia, has just concluded with the announcement of the winners. Some were eagerly anticipated and praised by both the audience and critics from their very first screening, while others came as surprises. This year, the festival saw a reduced presence of Hollywood’s big names and stars on the Lido due to the strikes by the American unions, the Writers Guild of America and SAG-AFTRA.
The winners of the official selection at Venice80Not easy decisions for the Venice80 jury presided over by Damien Chazelle, who, along with Saleh Bakri, Jane Campion, Mia Hansen-Løve, Gabriele Mainetti, Martin McDonagh, Santiago Mitre, Laura Poitras, and Shu Qi, awarded:
- Golden Lion for Best Film went to “Poor Things” by Yorgos Lanthimos
- Silver Lion – Grand Jury Prize was awarded to “Evil Does Not Exist” by Ryusuke Hamaguchi
- Volpi Cup for Best Actress was presented to Cailee Spaeny, the lead actress in “Priscilla” directed by Sofia Coppola
- Volpi Cup for Best Actor went to Peter Sarsgaard, for his role in “Memory” directed by Michel Franco
- Special Jury Prize was given to “The Green Border” by Agnieszka Holland
- Best Screenplay Award was presented to Guillermo Calderón and Pablo Larrain for the film “El Conde,” directed by Pablo Larrain
- Marcello Mastroianni Award for Best Young Actor or Actress was granted to Seydou Sarr, the lead actor in “Io, Capitano” by Matteo Garrone
The winners from the Orizzonti sectionThe Orizzonti jury, chaired by Jonas Carpignano and including Kaouther Ben Hania, Kahlil Joseph, Jean-Paul Salomé, and Tricia Tuttle, awarded the following prizes (without the possibility of a tie):
- Orizzonti Award for Best Film went to “Explanation for Everything” by Gabor Reisz
- Orizzonti Award for Best Director was presented to “Paradise is Burning” by Mika Gustafson
- Special Jury Prize Orizzonti was given to “Una sterminata domenica” by Alain Parroni
- Orizzonti Award for Best Actress was awarded to Margherita Rosa De Francisco, for her role in “El Paraiso” directed by Enrico Maria Artale
- Orizzonti Award for Best Actor went to Tergel Bold-Erdene, for his role in “Ser Ser Salhi (Città del Vento)” directed by Lkhagvadulam Purev-Ochir
- Orizzonti Award for Best Screenplay was presented to “El Paraiso” by Enrico Maria Artale
- Orizzonti Award for Best Short Film was given to “A Short Trip” by Erenik Bequiri
The winner of the Venice Opera Prima “Luigi De Laurentiis” AwardThe Venice Opera Prima “Luigi De Laurentiis” jury, chaired by Alice Diop and including Faouzi Bensaïdi, Laura Citarella, Andrea De Sica, and Chloe Domont, awarded (without the possibility of a tie) the following prize among all the debut feature films presented in the various competitive sections of the Venice Film Festival (Official Selection and Autonomous and Parallel Sections):
- Leone del Futuro – Venice Opera Prima “Luigi De Laurentiis Award to “Love Is a Gun” by Lee Hong-Chi
The film receives the prize of $100,000, provided by Filmauro, which will be evenly split between the director and the producer.
The post 80.Venice Film Festival. The winners of the 2023 edition appeared first on Fred Film Radio.
“Evil Does Not exist” was born not as a movie but as a visual production linked to a new musical project of Eiko Ishibashi, who asked the director Ryosuke Hamaguchi some images for her new music. The result was so good and touching it would have been a waste not to create a whole new narrative feature with them.
A strict collaborationRyosuke Hamaguchi and Eiko Ishibashi collaborate since long time and their work are perfectly complementary. The way “Evil Does Not exist” is born shows perfectly how they work together as reciprocal inspiration
Landscape The choice of the area of Japan where the film takes place was easy: Eiko Ishibashi lives there and her relation with the countryside, after having left the city, has changed and permeated her new music. So, having the film shot in that area was a natural conseguence of that.
The post “Evil Does Not exist”, interview with the director Ryosuke Hamaguchi and the composer Eiko Ishibashi appeared first on Fred Film Radio.
“Dogman” narrates the secluded and solitary life of an outsider dog lover who has to come to terms with the world, with its violence and its rules. With the fundamental help of Caleb Landry Jones, who chiseled the main character to an incredible perfection, Luc Besson comes back with a blast.
From a real storyReading a piece of news about a kid kept locked in a cage, Luc Besson started to think about the consequences of that on the kid and the perpetrators as well. The dogs came later, as the creative process went by.
No film without Caleb“Dogman” could have not been as it is without the presence of Caleb Landry Jones. It was clear to Luc Besson and it is clear to us as well. His many layers of emotions and depth, tenderness and strength make the film the gem that it is.
The post “Dogman”, interview with the director Luc Besson and the actor Caleb Landry Jones appeared first on Fred Film Radio.
Interview during the 80th edition of Venice International Film Festival with Malgorzata Szumowska and Michal Englert, directors of the film “Woman of” (“Kobieta Z…” in Polish) in competition for the Golden Lion. The movie depicts several decades in the life of a Polish trans woman and her relationship to her family and the rest of society.
Szumowska and Englert talk to FRED about the importance of this film to tell the world how LGTBQ+ rights are not being respected in Poland. They address the process of working with more than an actor for the same role, based on the idea that people’s aspect can change throughout their whole lives.
International reviews have said that “Woman of” is “a sprawling, lyrical, and sensitive journey of a woman becoming her true self”. During the film, the audience will discover the journey of Aniela Wesoły: her conversations with friends, family and doctors describe not only her life… but Poland itself.
The post “Woman of”, interview with directors Malgorzata Szumowska and Michal Englert appeared first on Fred Film Radio.
Mexican director Michel Franco is back in the Venice film Festival competition, for the 80th edition, with Memory, his first film led by Jessica Chastain and Peter Saarsgard.
It’s only the first collaboration with these two american actors of many he hopes to have in the future. Chastain and Saarsgard play Sylvia and Saul, two people meeting by chance and sort of slowly recognizing each other in their loneliness and choice of living at the margins of society.
Franco agrees that Memory explores both the concept of memory and of identity and it is, in a way, a love story as pure and fresh as those we live when we are coming of age. Memory also deals with mental illness and reflects on how people struggling with such issues is often, in the name of love, not allowed to live and enjoy life as every human being should.
The post “Memory”, interview with director Michel Franco appeared first on Fred Film Radio.
The Venice International Critics’ Week (SIC), an autonomous and parallel section organized by the Sindacato Nazionale Critici Cinematografici Italiani (SNCCI) within the 80th International Film Festival of the Venice Biennale (August 30 – September 9, 2023), awarded the prizes for its 38th edition today, Friday, September 8.
“Malqueridas” wins the IWONDERFULL Grand Prize and the Mario Serandrei – Hotel Saturnia Award.The international jury composed of Baloji, Ava Cahen, and Bianca Oana awarded the IWONDERFULL Grand Prize to “Malqueridas” by Tana Gilbert.
Here is the award rationale: “Because its subject is dizzying because its formal approach is masterful, a radical gesture that brings the off-screen to life and shows us only the details, the blurred image, the stolen pixels. Narrative and setup are subservient to testimonies. The director places us alongside incarcerated women without expressing any judgment of their worth, which is a marvel of the poetic license of cinema.”
Also, “Malqueridas” is awarded the Mario Serandrei – Hotel Saturnia Award for Best Technical Contribution, awarded by a dedicated committee of experts composed of Matteo Berardini, Marco Contino, Raffaella Giancristofaro, with the following rationale: “For the intricate post-production process through which clandestine images of life in a women’s prison, otherwise inaccessible, are given cinematic form. This film device makes the low-definition source material accessible while respecting it. A non-aestheticizing technical choice with clear political value.”
“Hoard” won The Film Club Audience Award and a special mention for actress Saura Lightfoot Leon.Luna Carmoon‘s “Hoard” receives The Film Club Audience Award with a rating of 4.5/5.00 and the Verona Cinema Circle Award, awarded by a jury under 35 composed of Luca Fron, Federico Mango, Alessia Origano, Lorenzo Zampini, Marika Zandanel, with the following rationale: “You asked us to get dirty, to swallow our certainties and radically subvert our concept of refuse. At that point, we understood only by plunging our hands into a landfill of objects, memories, and emotions can this accumulation be transformed into a home. The Verona Cinema Circle Award for the most innovative film of the International Critics’ Week goes to ‘Hoard’ by Luna Carmoon.”
The international jury also awarded a special mention to Saura Lightfoot Leon for her role in Luna Carmoon‘s film “Hoard” and to Ariane Labed, one of the protagonists of Adrien Beau‘s film “Le Vourdalak”.
Here are the motivations:
“We were amazed by the charisma and talent of the lead actress in ‘Hoard,’ Saura Lightfoot Leon, and wanted to pay tribute to her brilliant debut.” “Her presence still pervades us. The jury wishes to highlight Ariane Labed’s performance in ‘The Vourdalak’ for its precision, grace, and composure and for portraying a marginalized female character with strength and dignity.”
SIC@SIC (Short Italian Cinema @ International Critics’ Week)As part of the eighth edition of SIC@SIC (Short Italian Cinema @ International Critics’ Week), the jury, composed of three film industry professionals – Nicoletta Romeo, Eddie Bertozzi, and Matteo Tortone -selected the following winners from the seven short films in competition:
Best Short Film AwardAntonio La Camera‘s “Las memorias perdidas de los árboles” received the Best Short Film Award, with the rationale: “For imagining a sensory experience, a hallucinogenic journey, a psychedelic vertigo. But above all, for leading us through an intense emotional exploration that moves and astonishes, transcending the naturalistic aspect to the most profoundly human heart of suffering and loss.”
Best Director AwardGabriele Biasi‘s “La linea del terminatore” receives the Best Director Award, with the rationale: “For the formal research with which the author creates a work in which the selection of public and private archive materials, juxtaposing spiritual and emotional preparation with distant journeys and introspection, conveys a coherent and poetic vision of a refined and, above all, human cinema.”
Best Technical Contribution AwardAngela Norelli‘s “We Should All Be Futurists” receives the Best Technical Contribution Award, with the rationale: “Through meticulous research of archive materials, sharp text, engaging irony, and comedy, it proposes a reversal of warmongering and macho rhetoric, constructing a lightning-fast and light-hearted narrative of individual liberation.”
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“Passion for Criticism,” the closing film of Critics’ WeekOn Saturday, September 9, at 11:30 a.m., at the Perla Hall of the Casino Palace, “Passione Critica” by Simone Isola, Franco Montini, and Patrizia Pistagnesi will be presented. Produced by the National Union of Film Critics (SNCCI), with the support of the Directorate-General for Cinema and Audiovisual of the Ministry of Culture, the documentary is a special screening and joint event of the 80th Exhibition alongside the International Critics’ Week and the Authors’ Days. Following that, at 2:00 pm, there will be screenings of the short and feature films that won the Grand Prize of the International Critics’ Week in the Perla Hall.
Comment on this edition by the General Delegate, Beatrice Fiorentino:
“An extraordinarily vibrant edition of SIC has come to an end. We are thrilled with the reception our films have received, the audience attendance, the attention from the press and critics, and the warmth and sense of community that is developing around the International Critics’ Week.”
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The jury composed of young European cinephiles from the 27 Times Cinema program – jointly organized by Giornate degli Autori, the European Parliament’s LUX Audience Award, and Europa Cinemas, in collaboration with Cineuropa – and headed by director and screenwriter João Pedro Rodrigues, has decreed the winner of the GdA Director’s Award at the culmination of its customary deliberations, which are live-streamed on the Facebook page and YouTube channel of Giornate degli Autori and coordinated by Karel Och, director of the Karlovy Vary Film Festival.
The GdA Director’s Award carries a cash prize of € 20,000, to be split equally between the filmmaker and the film’s international distributor, to promote its circulation.
Out of the ten films in competition at the 20th edition of Giornate, “Vampire Humaniste Cherche Suicidaire Consentant” by Ariane Louis-Seize has been named the winner of the 2023 GdA Director’s Award.
The statement of the juryThe jury has released the following statement: “This film deserves to be celebrated for its strong directorial vision and consistent style in its various aspects, such as editing, cinematography, acting and art department. It bravely addresses crucial themes such as depression, mental health, euthanasia and neurodiversity. Nevertheless it is able to do so with a light-hearted feel, which makes the film radical and courageous, making it one of its strongest quirks. The idea that stood out is the possibility to find an alternative way of functioning, in a normative society. While the film has unique tone and style, it joyfully reaches a wider audience thanks to its tenderness and emotional engagement.”
“Vampire Humaniste Cherche Suicidaire Consentant”: a vampire story to exorcise the fear of deathSasha is a young vampire with a serious problem: she’s too sensitive to kill! When her exasperated parents cut off her blood supply, Sasha’s life is in jeopardy. Luckily, she meets Paul, a lonely teenager with suicidal tendencies who is willing to give his life to save hers. But their friendly agreement soon becomes a nocturnal quest to fulfill Paul’s last wishes before day breaks.
The director: Ariane Louis-SeizeAriane Louis-Seize is a French-Canadian filmmaker living in Montreal. She made her directorial debut with the short film “Wild Skin”, a fantasy selected at numerous festivals that garnered, among other awards, a nomination at the Canadian Screen Awards and one for the Prix Iris at the Quebec Cinema Awards.
In 2017, he directed “Littles Waves”, which screened at the Toronto and Berlin Film Festivals. Following that, he made the short films “The Depths” (2019) and “Shooting Star” (2020), selected again at the Toronto Film Festival.
“Vampire humaniste cherche suicidaire consentant“ is his first feature film.
Scene from “Humanist Vampire Seeking Consenting Suicidal Person”The post “Vampire humaniste cherche suicidaire consentant” wins the 2023 GdA Director’s Award appeared first on Fred Film Radio.
In the heart of Venice’s Giornate degli Autori, director Chong Keat Aun presents his remarkable film “Snow in Midsummer.” The movie delves into the harrowing events of May 13, 1969, when a violent uprising broke out in Kuala Lumpur after contentious post-election tensions. This dark chapter in Malaysia’s history, swiftly suppressed with bloodshed, is a story that has long been relegated to the shadows. Chong Keat Aun’s film, however, brings this forgotten tale to life, and he sits down with Fred Film Radio to discuss his journey in creating this impactful work.
Cinema as a Medium for Unveiling the UnspokenChong Keat Aun begins by emphasizing the power of cinema in sharing stories like these, which often cannot be openly discussed in his homeland. He sheds light on the difficulties faced during production, stating, “While I was shooting ‘Snow in Midsummer,’ many people asked me, ‘Are you sure you want to make this film? Because it might not be screened in Malaysia.‘” This highlights the inherent challenges of tackling a subject deemed sensitive by the authorities.
Two Perspectives Across Time“Snow in Midsummer” unfolds its narrative from two distinct perspectives, one in 1969 and the other in 2008. The director’s choice to entrust these perspectives to women is rooted in a cultural context. Chong Keat Aun explains, “In Malaysia, and more broadly in Southeast Asia, women are the custodians of family memory. As I conducted my research on the tragedy of May 13 and visited the cemetery, I always saw many women. Men were absent. In Malaysia, it’s as if men are more rational, not allowing family members to speak about what happened, as it is a delicate matter. But in most cases, when it concerns their loved ones, women continue to seek answers.”
The Role of Women in Preserving MemoryThe director elaborates on the contrasting reactions of men and women regarding the events of May 13, 1969. He notes that men tend to show disinterest, urging others to forget. In contrast, women persistently question this dark history, which remains an enigma even today. Chong Keat Aun underscores that the true scale of the tragedy is still unknown, with the official national report citing over 100 casualties, while the actual number is believed to be much higher—possibly thousands. This history has been shrouded in silence for 64 years, passed down exclusively through oral accounts.
The Complex BackgroundDelving into the complexities of the tragedy, Chong Keat Aun explains that Malaysia gained independence in 1957, becoming a multiracial nation with Chinese, Indian, and indigenous communities, albeit in the minority compared to Malays and Muslims. The events of May 13, 1969, unfolded during the nation’s third general national elections, which saw a significant loss of votes for the ruling party. The turmoil quickly escalated into a racial issue, a narrative that worked in favor of the ruling party. Chong Keat Aun points out that this narrative, driven by fear, was successfully exploited to maintain power.
Contemporary ParallelsAddressing the contemporary relevance of these events, the director suggests that a similar situation could arise today. He notes, “If you want another May 13, just vote for the opposition party. The elderly are terrified because they lived through the events of 1969. Even today, when discussions about that event arise, they remain silent and request others to do the same. This is also true for the film. I chose a very poetic way to tell the story; otherwise, it would have been impossible to make.”
The Power of Revisiting the CemeteryChong Keat Aun has revisited the cemetery numerous times over the years to converse with the families of the victims. He acknowledges the profound impact of these encounters, particularly the resilience of women. He recounts stories of women who, year after year, return to the cemetery, still seeking answers. One woman lost her younger brother, mother, and aunt that fateful night. Each of them continues to ponder why the truth about this tragic event has not been revealed yet. The women, in their unwavering commitment to uncover the truth, have left a lasting impression on the director.
The Significance of the Chinese Opera “Snow in June”The Chinese opera “Snow in June” holds significant importance in the film’s narrative. Chong Keat Aun explains that on that fateful night in May, an opera singer died and was buried in the same cemetery. During his research, he discovered a member of that opera troupe who revealed that they were performing “Snow in June,” an ancient story dating back to the Ming Dynasty. This story revolves around women who suffer abuse and escape their hometown, making a solemn vow: if they are truly innocent, snow will fall even in the summertime. Chong Keat Aun sought to intertwine the film’s narrative with that of the opera, creating a layered and poignant storytelling experience.
Integration of Documents and Voice RecordingsThe discovery of mass graves in 2009 marked a pivotal moment in the journey to uncover the truth. Chong Keat Aun’s research continued until 2018, a significant year as it coincided with the opposition party’s historic victory, toppling the incumbent government. In this same year, the threat to destroy the cemetery—a living testament to the events of May 13—was averted. Chong Keat Aun also explains that 2018 marked the year when he created the initial short film on this topic, which eventually evolved into the full-length feature in 2020.
Many elements in the film, such as the announcement of martial law, are based on historical records. These records and voice recordings were obtained from the families of victims who had diligently collected evidence and documentation over the years, fully aware that no one else would help them. They entrusted Chong Keat Aun with this material, imploring him to be their voice and ensure that this history would not be forgotten.
Chong Keat Aun’s “Snow in Midsummer” is not only a cinematic masterpiece but also a testament to the resilience of memory and the courage to confront a painful past. It serves as a powerful reminder that some stories must be told, regardless of the challenges they pose, to ensure that the truth is
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Listen to "Global Critics Venice Voice"! Rita Di Santo will lead you everyday through the highlights and film critics from the 80th Venice Film Festival.
The post Highlights and film critics from the 80th Venice Film Festival – episode 7/09 appeared first on Fred Film Radio.
“This is my 50th movie. It was a great privilege to have made it in Paris and it’s a great honor to show it in Venice”, these are the enthusiastic words of director Woody Allen about his participation, out of competition, to the 80th Venice International Film Festival with “Coup de Chance”. The director of iconic films such as “Manhattan” and “Match Point”, confirms, through his first film in French, how “we are all very dependent on chance and luck in life, more than you think we are” as the fictional lives of Fanny (Lou de Laâge), Jean (Melvil Poupaud), Alain (Niels Schneider) and the mystery surrounding them, shows. Woody Allen also explains how he stays true to the core of his cinema while shooting in other countries, especially European ones like France, Italy and Spain: “These countries have very pronounced personalities and if I have a good idea for that country, I would certainly make a film about it”.
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Global Critics Venice VoiceEvery day from the Venice Lido, Rita Di Santo hosts in the studios of FRED Film Radio several film critics who will comment on the films in Competition and Out of Competition, the actors and actresses attending the festival, as well as take you into the magical atmosphere of the Venice Film Festival.
Episode n.7 – 6th of September 2023In this first episode of Global Critics Venice Voice Rita Di Santo hosts David Sanchez (film critic from Spain, RST Radio Barcelona), Brian Viner (The Mail) and Ieva Sukyté (film critic from Lithuania), and they discuss together about the films screened in these days, “Zielona granica (The Green Border)”, “Enea” , VR at the Venice Immersive Island and “Tatami”.
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Global Critics Venice VoiceEvery day from the Venice Lido, Rita Di Santo hosts in the studios of FRED Film Radio several film critics who will comment on the films in Competition and Out of Competition, the actors and actresses attending the festival, as well as take you into the magical atmosphere of the Venice Film Festival.
Episode n.6 – 5th of September 2023In this first episode of Global Critics Venice Voice Rita Di Santo hosts Andrew Mohsen (film critic from Egypt), Ben Croll (film critic from Canada, Variety) and Géza Csákvári (film critic from Hungary), and they discuss together about the films screened in these days, “Coup de Chance”, “Priscilla” and “Hit Man”.
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The American film director, producer, and screenwriter Richard Linklater received the prestigious FRED AWARD today within the setting of the Venice Film Festival 2023, and awarded by FRED Film Radio, an international radio station and official partner of the Mostra.
Richard Linklater, director of the film “Hit Man“, which was presented in the Out of Competition section of the festival, received the prize on September the 5th, in the studios of FRED Film Radio. Chiara Nicoletti, presented the award to the director during an emotional interview, recorded at the Casino Palace following the film’s official press conference.
Richard Linklater
FRED AWARDThe FRED AWARD is a special accolade reserved for actors, directors, and professionals in the film industry who promote independent cinema and intercultural dialogue. Led by Federico Spoletti, the founder of the radio station, FRED Film Radio aims to spread the passion for independent cinema across various languages and cultures, providing a unique platform for participation in film festivals.
Among the actors and directors previously honoured with the FRED AWARD are esteemed names from the film industry, such as Joaquim Lafosse, Pablo Larrain, Willem Dafoe, Jasmine Trinca, Haifaa Al Mansour, Alba Rohrwacher, Matt Dillon, Alessandro Borghi, Céline Sciamma, and Tessa Thompson.
FRED AWARD to Richard Linklater at the 80. Venice International Film Festival. – Credits: Lucia SabatelliRichard LinklaterRichard Stuart Linklater, American film director, producer, and screenwriter, is known for making films that deal thematically with suburban culture and the effects of the passage of time.
His films include the comedies “Slacker” (1990) and “Dazed and Confused” (1993); the Before trilogy of romance films, “Before Sunrise” (1995), “Before Sunset” (2004), and “Before Midnight” (2013); the music-themed comedy “School of Rock” (2003); the adult animated films “Waking Life” (2001), “A Scanner Darkly” (2006), and “Apollo 10 1⁄2: A Space Age Childhood” (2022); the coming-of-age drama “Boyhood” (2014); and the comedy film “Everybody Wants Some!!” (2016).
The motivation for the FRED AWARD to Richard Linklater“FRED Award Venice 80 to Richard Linklater a director and screenwriter with a surprising and inexhaustible creative vein.
Through his rich and diverse body of work, Mr Linklater has demonstrated a formidable ability to experiment with new forms of cinematic storytelling and a special sensitivity in capturing the most authentic and meaningful aspects of individuals.
FRED Film Radio is proud to bestow this award upon Richard Linklater not only to express admiration for an undeniable talent, but also to underscore the fundamental role that Mr Linklater has played in the advancement of independent cinema.”
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FRED Film Radio is the official International Web Radio of the Venice International Film Festival and a media partner of the Venice Production Bridge, the Giornate degli Autori, and the International Critics’ Week. FRED provides radio broadcasting services with film delegations during the Festival and programs in various languages that encapsulate the festival experience.
With a commitment to independent cinema and dedication to cultural dialogue, FRED Film Radio continues to establish itself as an influential voice in the international film industry, promoting diversity and innovation in cinematic art.
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We are happy to announce that Sala Web returns to the 80th Venice International Film Festival with a selection of 8 shorts from the Orizzonti Short Films Competition.
The films will be available worldwide on Festival Scope – between September 7 and 30 – with a limited number of tickets:
- “Area Boy“ by Iggy London / Available Sept. 8th (Only available in Italy)
- “A Short Trip“ by Erenik Beqiri / Available Sept. 7th
- “Bogotá Story“ by Esteban Pedraza / Available Sept. 8th
- “Dar Saaye Sarv (In The Shadow Of The Cypress)“ by Hossein Molayemi, Shirin Sohani / Available Sept. 7th
- “Dive“ by Aldo Iuliano / Available Sept. 7th
- “Duan Pian Gushi (Short Story)“ by Lang Wu / Available Sept. 8th
- “If The Sun Drowned Into An Ocean Of Clouds“ by Wissam Charaf / Available Sept. 8th
- “Sentimental Stories“ by Xandra Popescu / Available Sept. 7th (Only available in Italy)
Prices and terms of saleFor films screened internationally, digital tickets may be purchased during the month of August on the website of the Biennale and on the website of Festival Scope. In order to view the film of choice, the user must first register and pay for the individual ticket (€ 5). Each film (in the original language version with subtitles in English) will be available for streaming starting at 9 pm CET on the day of the official presentation of the film on the Lido and through September 22nd, 2020.
To view the versions from the territory of Italy (in the original language version with subtitles in Italian), you must pay for the € 19.90 pass on the MyMovies website. The subscription gives you access to all the Web Theatre films.
Each film will be broadcast at a precise time, simulating a traditional screening; later, the film will be available for another 5 days, until the end of the available streaming.
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Spanish actress Lola Dueñas received the FRED AWARD on September 3, 2023, within the prestigious setting of the Venice Film Festival, awarded by FRED Film Radio, an international radio station and official partner of the Venice International Film Festival.
Lola Dueñas, among the protagonists of the film “Sobre todo de noche” by Víctor Iriarte, in competition at Giornate degli Autori, received on September 3, 2023, at the FRED Film Radio studios an award for her extraordinary career which she spoke with Chiara Nicoletti and David Martos during an interview full of passion and love for cinema, which was what she dreamed of since childhood.
FRED Award 2023 at the 80. Venice Film Festival goes to Lola Dueñas. Credits: Lucia Sabatelli / FREDFRED AWARDThe FRED AWARD is a special accolade reserved for actors, directors, and professionals in the film industry who promote independent cinema and intercultural dialogue. Led by Federico Spoletti, the founder of the radio station, FRED Film Radio aims to spread the passion for independent cinema across various languages and cultures, providing a unique platform for participation in film festivals.
Among the actors and directors previously honoured with the FRED AWARD are esteemed names from the film industry, such as Joaquim Lafosse, Pablo Larrain, Willem Dafoe, Jasmine Trinca, Haifaa Al Mansour, Alba Rohrwacher, Matt Dillon, Alessandro Borghi, Céline Sciamma, and Tessa Thompson.
Lola DueñasCelebrated for her exceptional versatility and talent, Lola Dueñas is one of her generation’s most renowned Spanish actresses, having appeared in a series of memorable films throughout her career.
She has performed in “Volver” (2006), “La mala educación” (2004), “Los abrazos rotos” (2009), and “Julieta” (2016) by Pedro Almodóvar, collaborating with directors like Nuri Bilge Ceylan, Alejandro Amenábar, Lucrecia Martel, Éric Toledano, and Olivier Nakache.
The motivation for the FRED AWARD to Lola Dueñas“FRED Film Radio Award 2023 to Lola Dueñas, an actress of exceptional quality. Lola Dueñas has portrayed memorable roles throughout her career with extraordinary intensity and naturalness,” stated Federico Spoletti. “Her ability to express nuances and contradictions of characters enhances the audience’s empathy and understanding. FRED Film Radio appreciates and shares the message of freedom and lightness that Lola Dueñas conveys through her performances.”
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FRED Film Radio is the official International Web Radio of the Venice International Film Festival and a media partner of the Venice Production Bridge, the Giornate degli Autori, and the International Critics’ Week. FRED provides radio broadcasting services with film delegations during the Festival and programs in various languages that encapsulate the festival experience.
With a commitment to independent cinema and dedication to cultural dialogue, FRED Film Radio continues to establish itself as an influential voice in the international film industry, promoting diversity and innovation in cinematic art.
The post Lola Dueñas received the FRED AWARD 2023 at the Venice Film Festival appeared first on Fred Film Radio.
Global Critics Venice VoicesEvery day from the Venice Lido, Rita Di Santo hosts in the studios of FRED Film Radio several film journalists and film critics who will comment on the films in Competition and Out of Competition, the actors and actresses attending the festival, as well as take you into the magical atmosphere of the Venice Film Festival.
Episode n.4 – 3rd of September 2023In this first episode of Global Critics Venice Voices Rita Di Santo hosts Kaleem Aftab (director of Red Sea Film Festival, film critic, member of UK Critics’ Circle and border of Golden Globes), and they discusse together about the films screened in these days, “Maestro”, “Adagio” and “Die Theorie Von Allem”.
The post Highlights and film critics from the 80th Venice Film Festival – episode 3/09 appeared first on Fred Film Radio.
Global Critics Venice VoicesEvery day from the Venice Lido, Rita Di Santo hosts in the studios of FRED Film Radio several film journalists and film critics who will comment on the films in Competition and Out of Competition, the actors and actresses attending the festival, as well as take you into the magical atmosphere of the Venice Film Festival.
Episode n.3 – 2nd of September 2023In this first episode of Global Critics Venice Voices Rita Di Santo hosts Brian Viner (The Mail), Ieva Sukyté (film critic from Lituania) and Volodymyr Chernyshev (Feulleiton Media), and they discusse together about the films screened in these days, “Poor Things”, “Finally Down” and “The Palace”.
Global Critics Venice VoicesThe post Highlights and film critics from the 80th Venice Film Festival – episode 2/09 appeared first on Fred Film Radio.
PODCAST | FRED Film Radio e Movieplayer.it uniscono le forze per arricchire il racconto dalla Mostra del Cinema di Venezia!
Movieplayer.it uno dei webmagazine tra i più autorevoli in Italia e riconosciuti nel panorama del cinema, raccoglie tutto sul mondo di film, cinema e serie TV: news, recensioni, trame, cast, programmazione in sala, televisione e in streaming, trailer e molto altro.
The InsidersOgni giorno dal Lido di Venezia, dalle voci di Movieplayer.it e dei reporter di FRED Film Radio, saprete tutto ciò che c’è da sapere sui film più attesi alla Mostra del Cinema 2023.
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Interview during the 80th edition of Venice International Film Festival with Yorgos Lanthimos, director, and Robbie Ryan, cinematographer, of the film in competition “Poor Things”, produced and starred by Emma Stone. She is absent from the festival due to the actors’ strike, alongside her fellow actors Willem Dafoe and Mark Ruffalo.
The conversation revolves around the importance of premiering this film in Venice, the construction of the magnificent sets from scratch (and the huge amount of light they needed) and of course the fact that the actors in the film couldn’t come to Venice to support the production.
“Poor Things” is the story of Bella Baxter, a childish woman trapped in the body of an older one. Her father (“God” to her) is a scientist that looks at life in a cold and analytic way. One day she discovers that her desire, before getting married, is travelling the world. Emma Stone was involved with the production since “The favourite“, a film very present at the Oscars, with Olivia Colman winning the Best Actress statuette.
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Listen to "Global Critics Venice Voices"! Rita Di Santo will lead you everyday through the highlights and film critics from the 80th Venice Film Festival.
The post Highlights and film critics from the 80th Venice Film Festival – episode 31/08 appeared first on Fred Film Radio.
Listen to "Global Critics Venice Voices"! Rita Di Santo will lead you everyday through the highlights and film critics from the 80th Venice Film Festival.
The post Highlights and film critics from the 80th Venice Film Festival – episode 1/09 appeared first on Fred Film Radio.
PODCAST | Every day from the Venice Lido, Rita Di Santo hosts in the studios of FRED Film Radio several film journalists and film critics who will comment on the films in Competition and Out of Competition, the actors and actresses attending the festival, as well as take you into the magical atmosphere of the Venice Film Festival.
The post Global Critics Venice Voices appeared first on Fred Film Radio.
"Aftab mishavad" unveils the roaring spirit of rebellion! Iranian director Ayat Najafi discusses crafting art amidst revolution. Discover the resilience of creation in times of upheaval.
The post “Aftab mishavad (The Sun Will Rise)”, Interview with Director Ayat Najafi appeared first on Fred Film Radio.
Spanish actress Lola Dueñas will receive the FRED AWARD during the 80th Venice International Film Festival
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A24's DREAM SCENARIO, starring Nicolas Cage, opens 19th Zurich Film Festival on Sept 28. Humorous take on celebrity culture marks ZFF's first A24 opener.
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At Giornate degli Autori 2023 the love of cinema and life is the common thread linking the movies into the selction. Lightning strikes, comebacks and long-lost loves, but also a special focus on LGBTQI+ films.
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Explore the multifaceted world of Lav Diaz as he engages in a candid dialogue with Fred Film Radio. Through this exclusive interview, Diaz uncovers the intricate layers of his creative process, illuminating societal challenges within the backdrop of his cinematic masterwork, "Essential Truths of the Lake." Join us on this [...]
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The trailer of the gripping survival epic directed by J.A. Bayona and based on a true tragedy, set to close the Venice Film Festival.
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Wes Anderson, Liliana Cavani and other iconic names in cinema will hold masterclasses and conversations at the 80th Venice Film Festival.
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Immerse yourself in the transformative world of "On the Go." Join directors María Gisèle Royo, Julia de Castro and the actor Omar Ayuso on a journey that blurs the lines between tradition and innovation, music and visuals, as they craft a cinematic masterpiece that challenges the very essence of storytelling.
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Explore the raw truth of migrant existence as director Sylvain George unravels their journey in "Obscure Night - Goodbye here, anywhere" (Nuit obscure - Au rétori ici, n'importe où) at Locarno Film Festival.
The post “Obscure Night – Goodbye here, anywhere” (Nuit obscure – Au rétori ici, n’importe où), Interview with director Sylvain George at Locarno Film Festival appeared first on Fred Film Radio.
Explore the flames of transformation in "Todos los Incendios". Director Mauricio Calderón Rico guides us through a captivating interview, delving into the creative depths of a film that ignites the human experience.
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Step into the realm of cinematic innovation with Ryoo Seung-wan, the visionary director behind "Smugglers". Discover how he defies creative complacency, weaving intricate narratives that balance established style and unexplored frontiers.
The post “Smugglers”, Interview with director Ryoo Seung-wan appeared first on Fred Film Radio.
Explore the transgressions and surprises of "Dreaming & Dying" in this interview with Nelson Yeo. A world of elusive identities and crossed dreams awaits you. The post "Dreaming & Dying (Hao Jiu Bu Jian)", Interview with Singapore’s director Nelson Yeo appeared first on Fred Film Radio.
Farewell to William Friedkin, director of "The Exorcist" and "The French Connection," who contributed to making New Hollywood great.
The post William Friedkin, who depicted the ill of the United States, has died. appeared first on Fred Film Radio.
The prestigious Venice International Film Festival has, in fact, begun with the usual press conference to present the 80th edition. This journey will take it to August 30, 2023, when the Biennale Cinema officially begins. The event, which was attended by Roberto Cicutto, President of the Biennale di Venezia, and [...]
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Cinema, today as always, remains an open window to the world through which to explore, reflect and tell. This statement by Beatrice Fiorentino, General Delegate of the 38th International Critics’ Week, invites us to examine the power of images and the responsibility that comes from observation through reproduction devices. Cinema [...]
The post 38SIC: The program of the 38th International Critics’ Week has been announced appeared first on Fred Film Radio.
Giornate degli Autori, an independent section within the prestigious Venice International Film Festival, is preparing to enthusiastically celebrate its twentieth edition. This year will be particularly significant, as it will be the first without the founder Citto Maselli and President Andrea Purgatori, to whom the entire event is dedicated. The [...]
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76th Locarno Film Festival: the ongoing SAG-AFTRA actors' strike has a strong impact in one of the most prestigious film events in the world.
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The 2023 Scandinavian Film Festival, now in its ninth year, showcases the best contemporary cinema from these countries, selected from international film festival.
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Today, 24 July 2023, the Board of Directors of the Locarno Film Festival met to discuss the succession proposal of Marco Solari as president of the Festival. In accordance with the procedure laid down in recent months, the appointment committee, whose members are Edna Epelbaum and Francesco Lurati, with Mario [...]
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The Italian illustrator and author Lorenzo Mattotti returns to collaborate with the Venice Biennale for the sixth time, signing the image of the official poster and creating the theme song for the 80th edition of the prestigious Venice International Film Festival. The image chosen for the poster is inspired by [...]
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Empty Nets conveys to the audience the enthusiasm of the director Behrooz Karamizade , and his love for Iran, reasons for the great appreciation (a very long standing ovation ) the film received at his official screening. Those same feelings are perfectly present in this talk we had with him, [...]
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Interview with Anna Wowra, director of Stucked Together, a film about a friendship between three inseparable girls.
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Interview with Sophia Macorrea, director of The Kidnapping of the bride, about weird wedding traditions.
The post “The Kidnapping of the Bride”, Interview with director Sophia Mocorrea appeared first on Fred Film Radio.
Interview with Amalie Nielsen, director of The Shift. A film about the encounter with those people, who in life they push you to be who you really want, supporting you.
The post “The Shift”, Interview with director Amalie Maria Nielsen appeared first on Fred Film Radio.
Interview with Inês Pedrosa e Melo, director of Home, Revised at the 57th Karlovy Vary International Film Festival in the EFP FUTURE FRAMES – Generation NEXT of European Cinema.
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Standing still is Monika Mahútová and co-writer Lucia Ditte’s way of exploring motherhood and their personal relationship with their mothers
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Daydreaming So Vividly About Our Spanish Holidays is a dreamlike experience into the mind of a teenager who is overwhelmed by the power of his feelings and thoughts.
The post “Daydreaming So Vividly About Our Spanish Holidays”, Interview with director Christian Avilés appeared first on Fred Film Radio.
In -15, director Rinaldas Tomaševičius was inspired by his homeless past and the people he met, the same people he wants to tell in his films.
The post “-15”, interview with director Rinaldas Tomaševičius and producer Lineta Lasiauskaite appeared first on Fred Film Radio.
“È riduttivo pensarlo come star, lui che è ormai uno di famiglia” Queste le parole di Gianlorenzo Franzi, Direttore artistico del 10° LIFF – Lamezia International Film Festival nel descrivere l’ospite d’onore di questa edizione, Lino Banfi, pezzo di storia del nostro cinema e per tutti anche un po’ sempre [...]
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Lamezia International Film Festival: 10 edizioni e 18 anni.
The post Gianlorenzo Franzi: Lamezia International Film Festival appeared first on Fred Film Radio.
Heart Fruit in Future Frames: An episode film aiming at deconstructing clichés of cinematic love.
The post “Heart Fruit”, interview with the director Kim Allamand appeared first on Fred Film Radio.
Media for All 10 Conference: Human agency in the age of technology.
Joss Moorkens – Media for all 10 Conference was first posted on July 10, 2023 at 5:02 pm.
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An episode film aiming at deconstructing clichés of cinematic love: Heart Fruit in Future Frames.
Kim Allamand – Heart Fruit was first posted on July 10, 2023 at 4:49 pm.
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Our inner struggles, education, democracy, metaphors and neorealism in the new film by Cristian Mungiu R.M.N. finally landing in Italy with the titles "Wild Animals".
Cristian Mungiu – R.M.N. – Animali Selvatici was first posted on July 5, 2023 at 7:58 pm.
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Italian release on June 29th - Italian premiere at the 59th Taormina Film Fest.
A.V.Rockwell, Teyana Taylor – A Thousand and one was first posted on July 5, 2023 at 7:32 pm.
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Ivan Gergolet firma un noir che è un tango tra Eros e Thanatos, vendetta e giustizia.Ivan Gergolet – L'uomo senza colpa was first posted on July 1, 2023 at 5:23 pm.
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The Spanish Film Festival is celebrating 25 years in 2023 and befitting such a milestone, will be presenting a 32 film strong lineup that offers exciting, inspiring and entertaining viewing in two key programme strands: New Spanish Cinema and Cine Latino.
Benjamin Zeccola – Spanish Film Festival #SpanishFilmFest was first posted on June 26, 2023 at 8:58 pm.
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From Berlinale to Sydney, Tia Kouvo comes back on FRED to talk about her festival journey with Family Time and her path as a filmmaker.
Tia Kouvo – Family Time #SydFilmFest was first posted on June 25, 2023 at 10:18 am.
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From documentary to fictional film, director Claire Dix in Sunlight talks about friendship, but also about her city, Dublin.
Claire Dix – Sunlight #SydFilmFest was first posted on June 25, 2023 at 10:05 am.
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A coming of age that talks about the need for love, the discovery of oneself but also the importance of sisterhood. This is Thunder, Carmen Jaquier's debut film.
Carmen Jaquier – Thunder #SydFilmFest was first posted on June 25, 2023 at 9:55 am.
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Director Peter Sohn talks about Elemental, last Disney-Pixar movie.
Peter Sohn – Elemental was first posted on June 19, 2023 at 9:30 pm.
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From Berlinale to Sydney Film Festival to represent women filmmakers.
Malene Choi – The Quiet Migration #SydFilmFest was first posted on June 19, 2023 at 9:03 pm.
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Charlotte Rampling talks about her character in Last Words, directed by Jonathan Nossiter.
Charlotte Rampling – Last Words was first posted on June 18, 2023 at 7:05 pm.
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Since 2016, more than 70 female filmmakers from Europe have seen their celluloid dreams dance across Sydney’s silver – and digital –screens thanks to a key Sydney Film Festival program strand, Europe! Voices of women in film. The bulk of this year’s talented women directors grace the lineup with their debut films, too, sharing their pivotal voices with cinema lovers for the first time.
Álfrún Helga Örnólfsdóttir, Asimina Proedrou, Marta Savina, Anna Hints #SydneyFilmFestival was first posted on June 13, 2023 at 8:22 pm.
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Terry Gilliam talks about his famous movie The Adventures of Baron Munchausen, the italian cinema he loves and what it means for him to be free in his work
Terry Gilliam – The Adventures of Baron Munchausen #Ora!Fest was first posted on June 13, 2023 at 7:36 pm.
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Guillaume Canet as the protagonist of Acide, midnight screening at the 76th Festival de Cannes. According to director Just Philippot, Canet is not afraid of darkness.
Guillaume Canet – Acide #Cannes2023 was first posted on June 11, 2023 at 2:40 pm.
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From Yu Hua's short story, a noir film on a man and his journey towards destiny.
WEI Shujun – Only the river flows #Cannes2023 was first posted on June 11, 2023 at 2:29 pm.
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We meet Pablo Larraìn at the national Museum of Cinema in Turin, for his masterclass and celebration with a special screening of Tony Manero.
Pablo Larraìn – Stella della Mole Award was first posted on June 10, 2023 at 10:20 am.
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Matthew Modine talks about his commitment as an activist to the environment, but also the popularity thanks to Stranger Things and his role in Oppenheimer.
Matthew Modine – Ripple Effect #Ora!fest was first posted on June 10, 2023 at 10:09 am.
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Marisa Tomei about being actor in Hollywood.
Marisa Tomei #Ora!fest was first posted on June 10, 2023 at 9:44 am.
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See it all and immerse yourself in emotion – from the glee to the grit to the glory – as Sydney comes alive with 200+ movies screening at the 70th Sydney Film Festival.
Nashen Moodley – Festival Director #SydFilmFest was first posted on June 9, 2023 at 8:58 pm.
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Dreams speak louder than words: Pablo Berger brings his poetic to animation.Pablo Berger – Robot Dreams #Cannes2023 was first posted on June 4, 2023 at 6:17 pm.
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PODCAST | Federica Scarpa interviews Wang Bing, director of the film Youth (Spring).
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Interview with Wang Bing, director of Youth (Spring), presented at the 76th Festival de Cannes in Competition.
Youth (Spring): Chinese director Wang Bing is back in competition at the Cannes Film Festival with a new film that tells the dark side of the world of work in China. We are in Zhili, 150km away from Shanghai. In this city dedicated to textile production, young workers come from all rural regions crossed by the Yangtze River. They are in their early twenties and share dorm rooms and snacks in the corridors. They work tirelessly one day to raise a child, buy a house or open their workshop. Between them, friendships and love stories are made and unmade according to the seasons, failures and family pressures. Wang Bing tells us about the film’s lengthy production, which required years of shooting and the trust of Zhili workers. Spring is the first of three parts of the film Youth, and it shows, in its cruel reality, the new generation of migrant workers in China’s garment industry.
Wang Bing – Youth (Spring) #Cannes2023 was first posted on June 2, 2023 at 7:51 am.
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PODCAST | Chiara Nicoletti interviews Antony Chen, Zhou Dangyou, director and actress of the film The Breaking Ice.
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Interview with Anthony Chen and Zhou Dangyou, director and actress of The Breaking Ice, presented at the 76th Festival de Cannes in Un Certain Regard
The Breaking Ice: In his Gen Z “Jules & Jim” homage, The Breaking Ice, screening at the 76th Festival de Cannes in the Un Certain Regard section, Anthony Chen depicts two boys and a girl, in their early 20’s, bonding over a drunken weekend in cold wintry Yanji, a city on China’s northern border. Zhou Dangyou, who plays Nana, a charming tour guide, describe her character and how she’s fond of this role. Chen talks about Gen Z and how coming of age implies universal struggles that are common to every generation and every person in their post adolescence’s path to adult life.
Antony Chen, Zhou Dangyou – The Breaking Ice #Cannes2023 was first posted on June 2, 2023 at 7:31 am.
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PODCAST | Angelo Acerbi interviews Geng Zihan, director of the film A Song Sung Blue.
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Geng Zihan, the young Chinese filmmaker on the Croisette with her film A Song Sung Blue at the Director’s Forthnight, explains the narrative arc of Liu Xian, the lead character, and her evolution, also under the point of view of the visual choices in terms of photography, that help defining the world the girl lives in.
A Song Sung Blue: Fifteen year-old Xian goes to live with her father while her mother, a doctor, takes a job in Africa. Soon, she becomes fascinated by her father’s stepdaughter, a swaggering, liberated and slightly melancholic young woman.
Geng Zihan – A Song Sung Blue #Cannes2023 was first posted on June 2, 2023 at 7:22 am.
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PODCAST | Angelo Acerbi interviews Felipa Reis, Joao Miller Guerra, directors of the film Legua.
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Felipa Reis and Joao Miller Guerra are used to work together; this time they focus on Joao’s village, Legua, to tell a story about three women, the passing of time and the concept of family ties, in the widest meaning. of the word. There is a lot of each one of them , and of us, in this film, as they explained in this interview form the Directors Forthnight Beach, in Cannes.
Legua: At an old manor house in northern Portugal, Ana helps her friend, Emília, the elderly housekeeper who is determined to continue to keep the unoccupied house in order for the owners who are never there. As the seasons turn, Mónica, Ana’s daughter, challenges her mother’s choices and the three generations of women search to understand where they belong in a world that is rapidly fading, where the cycle of life is renovated only through inevitable endings.
Felipa Reis, Joao Miller Guerra – Legua #Cannes2023 was first posted on June 2, 2023 at 7:10 am.
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PODCAST | Angelo Acerbi interviews Elene Naveriani, director of the film Blackbird Blackbird Blackberry.
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Elene Naveriani, director of one of the unexpected surprise at the Directors Forthnight on Cannes, analyses with Angelo Acerbi their film starting from the adaptation of the book it derivates; and the importance of casting, the unconscious but strong feminism of the lead character and the influence of their Georgian upbringing.
Blackbird Blackbird Blackberry: Etero, a 48-year-old woman living in a small village in Georgia, never wanted a husband. She cherishes her freedom as much as her cakes. But her choice to live alone is the cause of much gossip among her fellow villagers. Unexpectedly, she finds herself passionately falling for a man, and is suddenly faced with the decision to pursue a relationship or continue a life of independence. Etero must grapple with her feelings and decide how to find her own path to happiness.
Elene Naveriani – Blackbird Blackbird Blackbarry #Cannes2023 was first posted on June 2, 2023 at 6:59 am.
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PODCAST | Federica Scarpa interviews Kanu Behl, director of the film Agra.
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Interview with Kanu Behl, director of Agra, presented at the 76th Festival de Cannes in the Quinzaine des cinéastes.
Crowrã (The Buriti Flower): Through the story of Guru, a sexually frustrated 25-year-old call center operator who still lives with his parents in crowded Agra, Kanu Behl tells us a story of the contested space: or how the emancipation of a young person can only be achieved through access to the property. In the interview Kanu tells us something more about her film, where she took inspiration to tell this story, the importance of the female figures in the film and the difference between our secret and public persona.
Kanu Behl – Agra #Cannes2023 was first posted on May 28, 2023 at 11:08 am.
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PODCAST | Federica Scarpa interviews João Salaviza and Renée Nader Messora, directors of the film Crowrã (The Buriti Flower).
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Interview with João Salaviza and Renée Nader Messora, directors of Crowrã (The Buriti Flower), presented at the 76th Festival de Cannes in the Un Certain Regard section.
Crowrã (The Buriti Flower): The Buriti Flower, the new film by João Salaviza and Renée Nader Messora presented at the Cannes Film Festival in the Un Certain Regard session, is a journey through three periods in the history of the Krahô people, in the north of the state of Tocantins, in the heart of the Brazilian forest. As the directors told us, the film brings to the fore one of the most urgent themes of today: the struggle for the land and the different forms of resistance implemented by this incredible community. Salaviza and Messora also spoke about the film’s shoot, which lasted fifteen months, their daughter’s importance in establishing a relationship of trust with the Krahôs, and the decision to film in 16mm.
João Salaviza, Renée Nader Messora – Crowrã (The Buriti Flower) #Cannes2023 was first posted on May 28, 2023 at 10:59 am.
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PODCAST | Chiara Nicoletti interviews Justine Triet and Sandra Hüller, director and actress of the film Anatomy of a fall.
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Interview with Justine Triet, director and Sandra Hüller, protagonist of Anatomy of a fall, presented at the 76th Festival de Cannes in competition.
Anatomy of a fall: Justine Triet directs the charismatic Sandra Hüller in a powerful court drama that manages to reflect on how women are still being judged for their sexuality, career and even motherhood. Anatomy of a fall was written with Hüller in the protagonist’s role since the beginning. Triet and Hüller walk us through the pivotal “argument” scene which is the core of the film and its meaning.
Justine Triet, Sandra Hüller – Anatomy of a fall #Cannes2023 was first posted on May 28, 2023 at 10:36 am.
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PODCAST | Chiara Nicoletti interviews Camilo Arancibia, Mark Stanley and Mishell Guana, actors of the film The Settlers.
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Interview with Camilo Arancibia, Mark Stanley and Mishell Guana, actors in The Settlers by Felipe Gálvez, presented at the 76th Festival de Cannes in the Un Certain Regard section.
The Settlers: Chile’s colonial past is explored in the first feature film by Felipe Gálvez, The Settlers, at the 76th Festival de Cannes in the Un Certain Regard section. The three main actors, Camilo Arancibia, Mark Stanley and Mishell Guana highlight how important this film and this story was for them and how it resonates with today’s world. The Settlers is set in Chile in 1901 where three horsemen are hired by a rich landowner to mark out the perimeter of his expansive property. The expedition, composed of a young Chilean half blood, an American mercenary, and led by a reckless British lieutenant, soon turns into a “civilizing” raid.
Camilo Arancibia, Mark Stanley, Mishell Guana – The Settlers #Cannes2023 was first posted on May 28, 2023 at 10:24 am.
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PODCAST | Chiara Nicoletti interviews Alireza Khatami & Ali Asgari, directors of the film Terrestrial Verses.
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Interview with Alireza Khatami & Ali Asgari , directors of Terrestrial Verses, presented at the 76th Festival de Cannes in the Un Certain Regard section.
Terrestrial Verses: Iranian directors Alireza Khatami and Ali Asgari met in Venice some years ago and decided to join forces and co-direct Terrestrial Verses, premiering at the 76th Festival de Cannes in the Un Certain Regard Section. The film aims to explore power dynamics in contemporary Iranian society but at the same time manages to invite the audience to evaluate power in their own lives. As it is very personal and focused on real stories happened in Iran, the film is very universal.
Alireza Khatami & Ali Asgari – Terrestrial Verses #Cannes2023 was first posted on May 27, 2023 at 8:15 pm.
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PODCAST | Federica Scarpa interviews Mohamed Kordofani, director of the film Goodbye Julia.
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Interview with Mohamed Kordofani director of Goodbye Julia, presented at the 76th Festival de Cannes in Un Certain Regard.
Goodbye Julia: Goodbye Julia, the first feature film of Mohamed Kordofani, is the story of the friendship between two women Julia and Mona, two completely different worlds, representation of the Northern and Southern communities of Sudan. The story takes place in Khartoum during the last years of Sudan as a united country but we soon discover that it is only an apparent unity since the cultural differences that make the political situation precarious permeate the film. Kordofani tells us why he decided to tell this story from a female point of view, and the importance to find a way for a new national identity. Since Goodbye Julia is the first Sudanese film presented at the Cannes Film Festival, we also asked Mohamed Kordofani about the situation of cinema in Sudan.
Mohamed Kordofani – Goodbye Julia #Cannes2023 was first posted on May 27, 2023 at 7:52 pm.
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PODCAST | Giulia Bianconi interviews Jessica Hausner, actors of the film Club Zero.
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In Club Zero with Mia Wasikowska, screening in competition at the Cannes Film Festival, the austrian director Jessica Hausner talks about manipulation, teenage issues such as their relationship with food and group mentality, parents and teachers responsabilities.
Club Zero: Miss Novak joins the staff of an international boarding school to teach a conscious eating class. She instructs that eating less is healthy. The other teachers are slow to notice what is happening and by the time the distracted parents begin to realise, Club Zero has become a reality.
Jessica Hausner – Club Zero #Cannes2023 was first posted on May 27, 2023 at 6:52 pm.
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PODCAST | Chiara Nicoletti interviews Lisandro Alonso, actors of the film Eureka.
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Interview with Lisandro Alonso, director of Eureka, presented at the 76th Festival de Cannes in Cannes Premiere.
Eureka: The new film by Lisandro Alonso, screening at the 76th Festival de Cannes in the Cannes Premiere section is, as the director confirms, the biggest challenge he has ever confronted himself with, since his first film, La Libertad in 2001. Divided into three parts but conceaved as a unique film, Eureka depicts the situation of Native Americans in the US and it counts on the participation of Viggo Mortensen and Chiara Mastroianni.
Lisandro Alonso – Eureka #Cannes2023 was first posted on May 24, 2023 at 9:03 pm.
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PODCAST | Chiara Nicoletti interviews Rupert Friend and Maya Hawke, actors of the film Asteroid City.
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Interview with Maya Hawke and Rupert Friend, actors in Asteroid City by Wes Anderson, presented at the 76th Festival de Cannes in Competition.
Asteroid City: As a film is a team effort, this concept has even more meaning when it comes to Wes Anderson’s cinema counting on the participation of many great actors. This is what happens with Asteroid City, in competition at the 76th Cannes Film Festival where Maya Hawke and Rupert Friend play, respectively, June, a school teacher and Montana, a musician cowboy. Asteroid City is the name for a dot-on-the-map desert town in the American Southwest in the year is 1955 but, we will soon discover that it is also a play in its preparation, directed by a renown director, played by Edward Norton. Maya Hawke and Rupert Friend are also two actors then, working on this show in the Broadway and Hollywood of the 50’s. Hawke and Friend talk about the innocent and sophisticated pastel colored world of Wes Anderson and how it felt to be cast in this film. Have their ever wished to live and be actors in a different era like the 50’s? Listen to the interview to find out.
Rupert Friend, Maya Hawke – Asteroid City #Cannes2023 was first posted on May 24, 2023 at 8:57 pm.
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PODCAST | Chiara Nicoletti interviews Magalie Lepine-Blondeau, actress of the film The Nature of Love.
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Interview with Magalie Lepine-Blondeau, actress in The Nature of Love by Monia Chokri, presented at the 76th Festival de Cannes in Un Certain Regard.
The Nature of Love: She’s not only among the most famous Canadian actresses but Magalie Lepine-Blondeau is also director’s Monia Chokri’s best friend. As the protagonist of Chokri’s new feature film, The Nature of Love, Symple Comme Sylvain, at the 76th Cannes Film Festival, she plays Sophia, a 40-year-old philosophy professor, who, from a stable if somewhat socially-conforming relationship with Xavier ends up falling in love with her craftsman, Sylvain, who turns her world upside down. Magalie Lepine-Blondeau walks us into her work with Chokri on relationships, passion, cultural differences, trying to analyze answering the question: “Opposites attract, but can they last?”.
Magalie Lepine-Blondeau – The Nature of Love #Cannes2023 was first posted on May 24, 2023 at 6:54 am.
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PODCAST | Federica Scarpa interviews Inês Teixeira, director of the film Shimmering Bodies.
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Interview with Inês Teixeira, director of Shimmering Bodies, first short film, presented at the 62° Semaine de la Critique during the Cannes Film Festival.
Shimmering Bodies: It is always a great emotion to discover new young directors making their cinematic debut, as in the case of Inês Teixeira with her short, in competition at the 62nd Semaine de la Critique, a parallel section of the Cannes Film Festival. Inês was inspired by teenage memories to tell the story of Mariana, a shy teenager who is invited by her friend Jorge to spend a weekend at her house in Leiria. She will discover aspects of herself that she did not know. The director tells us about her first day on set, what she learned making her first film, and how it feels to be in such a significant competition as La Semaine de la Critique.
Inês Teixeira – Shimmering Bodies #Cannes2023 was first posted on May 22, 2023 at 3:25 pm.
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PODCAST | Bénédicte Prot interviews Amjad Al Rasheed, director of the film Inshallah A Boy.
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Amjad Al Rasheed, author of the first Jordanian film to ever grace the Critics’ Week, tells us how he came to decide to make his debut a striking and potent criticism of his society from such an intimately feminine angle, talks about the patriarchal oppression at the centre of his film, and reveals some details on the writing process as well as his work with his formidable lead actress.
Inshallah A Boy: Jordan, nowadays. After the sudden death of her husband, Nawal (Mouna Hawa), in her 30s, has to fight for her part of inheritance in order to save her daughter and home in a society where having a son would be a game changer.
Amjad Al Rasheed – Inshallah A Boy #Cannes2023 was first posted on May 20, 2023 at 4:37 pm.
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PODCAST | Federica Scarpa interviews Kamal Lazraq, director of the film Hounds.
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Interview with Kamal Lazraq, director of Hounds, first feature film, presented at the 76th Festival de Cannes in the Un Certain Regard section.
Hounds: The first feature film by director Kamal Lazraq, presented at the Cannes FIlm Festival in the Un Certain Regard section, is a road movie of a long night through the streets of Casablanca, where the two protagonists of the film, Hassan and Issam, father and son, try to make up for a job gone wrong. Lazraq tells us that the inspiration for Hounds came from listening to the people of Casablanca, the same amateur actors he later used in Hounds. “I have a very strong documentary approach in my films, and I need to listen to the people, to go to the streets.” On the streets of Casablanca, anything can happen, and sometimes it’s enough to be in a cafe to listen to the most incredible stories, like the one that inspired this film. Lazraq also talks about the most important lesson he learned from making his first feature film and the importance of the creative freedom that often comes from shooting a movie on the streets of a city like Casablanca with non-professional actors. A compelling film that plays with film genres such as noir, road movies, and drama but with a touch of magical surrealism that will enchant you.
Kamal Lazraq – Hounds #Cannes2023 was first posted on May 19, 2023 at 9:30 pm.
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PODCAST | Chiara Nicoletti interviews Wim Wenders, director of the film Anselm.
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When it comes to experimental art films like Anselm, Wim Wenders feels like a first time director.Anselm: Beside Perfect Days, his new fiction film which will be presented at the 76th Festival de Cannes in competition, Wim Wenders is at the film festival directed by Thierry Frémaux with Anselm, a 3D portrait of Anselm Kiefer, one of the most innovative and important painters and sculptors of our time. Wenders explains how he crossed paths with Kiefer for many years as the idea of making a film about his artist friend gained strength. After watching Kiefer’ studios Barjac, Wenders told him that it was about time they made a film together. “It’s now or never” Wenders said and Kiefer agreed. When it comes to experimental art films like Anselm, Wim Wenders feels like a first time director, he reveals. Shot in 3D and 6K-resolution, the film presents a cinematic experience of the artist’s work which explores human existence and the cyclical nature of history, inspired by literature, poetry, philosophy, science, mythology and religion. For over two years, Wenders traced Kiefer’s path from his native Germany to his current home in France, connecting the stages of his life to the essential places of his career that spans more than five decades.
Wim Wenders – Anselm #Cannes2023 was first posted on May 19, 2023 at 1:25 pm.
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PODCAST | Giulia Bianconi interviews Emily Mortimer, jury president of the Riviera International Film Festival 2023.
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At Riviera International Film Festival 2023 actress, director, scriptwriter and producer Emily Mortimer talks about her role as jury president, the importance of the failures in her career, her new projects and her point of view about Woody Allen affair
Emily Mortimer about the importance of failing: “Alive in the arts, but particularly in film as an actor, writer, director or producer. Anything is very difficult and it’s mainly going to consist of things not working and making a movie is the processes pretty much impossible. Getting the money to make the movie is pretty much impossible. The chances of making a good film are pretty impossible. The chances of that film, even if it’s good, being seen by anybody are very slim. It’s a crazy thing to do with your life. It’s more hope than expectation. But it’s all these reasons, I think a really beautiful thing to do, because everybody that’s here at this festival, everybody that puts their life into this kind of storytelling really believes in it and has at some point in their lives been really affected by a movie or television show or whatever that someone else has made. And I just find this kind of the beauty in this kind of everybody getting together to make things and nobody knowing the outcome. And it’s really in the face of so much adversity, yet people’s passions persists. And sometimes something magical happens and that’s what you hope and pray for but in the meantime, you go on an amazing journey with a lot of people who have light mines, and you probably fail but you fail nobly and beautifully”.
Emily Mortimer – Riviera International Film Festival 2023 was first posted on May 18, 2023 at 7:53 am.
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PODCAST | Chiara Nicoletti interviews Hopper Jack Penn and Zoë Bleu, actors of the film Signs of Love.
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After winning the first edition of the Corbucci Award – Premio Corbucci at the 20th edition of Alice nella Città in Rome, Signs of love, the debut feature by Clarence Fuller with Hopper Jack Penn and Zoë Bleu, is finally coming out in Italian movie theatres from May 11,2023. Hopper Jack Penn and Zoë Bleu talk about the film being a love story but also a coming of age and how their characters changed their mindset on a lot of life themes and values.
Signs of Love: A young man struggling for a good life meets a deaf girl from a well-off nearby family, he suddenly sees hope for love, and a better life but only if he can escape the predicament of the streets and the influence of his older sister.
Hopper Jack Penn, Zoë Bleu – Signs of Love #Alicenellacittà was first posted on May 10, 2023 at 8:51 pm.
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PODCAST | Francesca Raffi interviews Marina Ramos Caro, Lecturer at the Department of Translation and Interpreting at the University of Murcia.
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Research on audio description has undergone an enormous development in the last decade. Marina Ramos Caro, one of the speakers at ARSAD 2023, tells us more about emotions, objectivity versus subjectivity, and the role of ideology in audio description. Since 2007, ARSAD has been the meeting point for researchers, industry, trainers, trainees, users, practitioners, regulators, broadcasters, policy makers, social activists, cultural managers and anyone interested in audio description. ARSAD aims to be a thought-provoking event where we can learn about the present of audio description across the globe from multidisciplinary perspectives and where we can get a glimpse of the future of this fascinating access mode.
Marina Ramos Caro, PhD, is a Lecturer at the Department of Translation and Interpreting at the University of Murcia, Spain. She is particularly interested in the influence of emotions and personality in the process and reception of translation and audio description. Marina Ramos has been awarded several international grants, presented her work at international conferences, and published in journals (Journal of Pragmatics, MonTi, Translation Spaces, The Translator, Perspectives, Journal of Specialised Translation, Onomázein). As a professional translator, she has mainly worked within the fields of subtitling, dubbing, and transcreation. She is also the founder and director of Latrium, the Laboratory for Inclusive Translation of the University of Murcia, a project aimed at promoting the accessibility of the performing arts in the Region of Murcia by means of live surtitles and AD.
To discover more, click here.
Marina Ramos Caro #ARSAD2023 was first posted on May 10, 2023 at 7:32 pm.
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PODCAST | Laura Della Corte interviews Sophia Wong Boccio, founder and executive director of the Asian Pop-Up Cinema.
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In the interview with Sophia Wong Boccio, we talked about her experience at Far East Film Festival and about her work as founder of Asian Pop-Up Cinema in Chicago.
In the early 1990’s where that love of film launched her own career in the industry. While working in Beijing, Sophia launched a Sophia’s Choice movie series, bringing Chinese films and cultural exchange with the film’s actors and directors to Beijing’s expatriate and diplomatic community.
Sophia Wong Boccio – Asian Pop-Up Cinema #FarEastFilmFestival was first posted on May 9, 2023 at 9:14 pm.
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PODCAST | Laura Della Corte interviews Johnnie To, director of the film Sparrow.
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In the interview with Johnnie To, director of Sparrow and Election we talked about the usual Milkyway Image technical expertise that characterizes his works; to underline, in particular, the versatile photography of Cheng Siu Keung and the persuasive music of Xavier Jamaux and Fred Avril.
Sparrow: Kei is the expert leader of a pickpocket team. (Pickpockets are also known as “Sparrows” in Hong Kong slang). He enjoys a carefree lifestyle by taking pictures with his vintage Rolleiflex. One day a charming beauty, Chun-Lei, suddenly appears in Kei’s sights. Kei is hypnotized. Each member of her team has an encounter with her… But behind her attractive facade of her Chun-lei hides a mysterious past and a mission to get rid of her.
Johnnie To – Sparrow #FarEastFilmFestival was first posted on May 9, 2023 at 9:01 pm.
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PODCAST | Laura Della Corte interviews Nakamura Mayu and Nahana, director and actress of the film She is me, I am her.
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In the interview with Nakamura Mayu and Nahana, director and actress of She Is Me, I Am Her, we talked about one of the episodes called Ms. Ghost, which stages a real mirroring between two women.
She is me, I am her: In the four episodes that make it up and which were all written by Nakamura, there are indeed masks, but the pain of the main protagonists – all played by the versatile and expert Nahana – is far from dampened. The film eloquently supports the thesis of the importance of creatively analyzing the impact of the pandemic on normal or even not quite common existences. Despite their common element, however, the four episodes also work well as autonomous narratives, and Nahana, who performs a veritable interpretative tour de force in the film, fits perfectly into the shoes of four completely different characters.
Nakamura Mayu, Nahana – She is me, I am her #FarEastFilmFestival was first posted on May 5, 2023 at 10:23 pm.
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PODCAST | Laura Della Corte interviews Matsunaga Daishi, director of the film Egoist.
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In the interview with Matsunaga Daishi, the director of Egoist, we talked about about the key points that were at the center of the original novel and how he encountered it.
Egoist: There was a period, not so long ago, in which homosexual characters in Hollywood films were painted with different shades of evil (if you google “queer-coded Disney villains” you will see long lists of famous titles). In the Japanese film industry in recent years, LGBTQ characters have moved ever closer to the mainstream, albeit rarely as moral exemplars. The title of Matsunaga Daishi’s groundbreaking new film Egoist, based on Takayama Makoto’s semi-autobiographical novel of the same name, suggests much the same thing when the gay editor of a fashion magazine (Suzuki Ryohei) makes his hot personal trainer (Miyazawa Hio) a well-rewarded lover. The meaning of the title, however, is more elusive than it appears at first glance.
Matsunaga Daishi – Egoist #FarEastFilmFestival was first posted on May 5, 2023 at 10:16 pm.
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PODCAST | Laura Della Corte interviews Hiroki Ryuchi, director of the film Phases of the Moon.**
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In the interview with Hiroki Ryuchi, director of Phases of the Moon, we talked about the details hidden in the movie that recalls another movie “A Swedish Love Story” and how the director adapted the bestselling novel by Sato Shogo.
Techno Brothers: Kei Osanai enjoys a peaceful and happy life with his wife Kozue and daughter Ruri, but his wife and daughter die in an accident. Kei’s life suddenly changes. One day, a man named Akihiko Misumi visits Kei and tells him that the day Kozue and Ruri died, Ruri, who was a complete stranger to him, was visiting him. Akihiko tells him about a woman named Ruri Masaki, whom he once loved. These people, who don’t appear to be related, connect under the name of love.
Hiroki Ryuchi – Phases of the Moon #FarEastFilmFestival was first posted on May 5, 2023 at 10:13 pm.
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PODCAST | Laura Della Corte interviewsWatanabe Hirobumi and Watanabe Yuji, director and composer of the film Techno Brothers.
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In the interview with Watanabe Hirobumi and Watanabe Yuji, director and composer of Techno Brothers, we talked about the concept of Watashishosetsu, the japanese novels of the self and the reference to John Landis’1980 musical comedy, The Blues Brothers.
Techno Brothers: However, there are elements that Watanabe fans know well, from the flat and anonymous landscape of Tochigi to the arrogant and mysterious boss Riko, played by Hisatsugu Riko, the girl who starred in several Watanabe films and is a bit his muse in miniature. Sitting in a folding chair in the middle of a field and speaking through a burly assistant (Watanabe), she tells Himuro that the group’s techno sound “isn’t fit for the modern age,” but to try her luck in Tokyo. When Himuro asks her to finance the trip, Riko replies, “Aren’t you musicians? Earn money yourself!”
Watanabe Hirobumi, Watanabe Yuji – Techno Brothers #FarEastFilmFestival was first posted on May 5, 2023 at 10:06 pm.
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PODCAST | Laura Della Corte interviews Suzuki Masayuki, Wakamatsu Hiroki, Koyama Kundo, director, producer and screenwriter of the film Yudo – The way of the bath.
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In the interview with Suzuki Masayuki, Wakamatsu Hiroki and Koyama Kundo, director, producer and screenwriter of Yudo, we talked about the real message at center of its story.
Yudo – The way of the bath:Shiro and Goro inherit an onsen, the traditional public baths we’ve seen in dozens of Japanese movies. The former would like to build a small building, the latter to carry on the business. Witness of this encounter/clash a series of delightful characters, from the austere “toilet critic” to the customers of the establishment, who with their load of humanity demonstrate how much tradition and innovation can be compatible.
Suzuki Masayuki, Wakamatsu Hiroki, Koyama Kundo – Yudo – The way of the bath #FarEastFilmFestival was first posted on May 5, 2023 at 9:57 pm.
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PODCAST | Laura Della Corte interviews Shogen and Matsuura Ryo, actor and actress of December, your lovely smile.
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In the interview with Shogen (Your Lovely Smile) and Matsuura Ryo, actor and actress of December, we talked about their roles in the movies at the Far East Film Festival 25 and how the learned to play their character in such a sublime way.
December, your lovely smile: Watanabe Hirobumi is the most eccentric Japanese director of the moment. Having said that, let’s ask ourselves what would happen if Watanabe plays Watanabe in a cinematic short circuit… Lim Kah Wai has dared to create a mockumentary that sees ours in the role of an indie director touring the cinemas of Japan to propose his film. Behind the bewildered and rarefied comedy, an act of love for independent cinema.
Shogen, Matsuura Ryo – December, your lovely smile #FarEastFilmFestival was first posted on May 5, 2023 at 9:48 pm.
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PODCAST | Laura Della Corte interviews Kim Jin-young, director of film The Other Child.
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In the interview with Kim Jin-young director of The Other Child we talked about the original idea behind the story and how the horror and the drama each feed into and complement each other.
The Other Child is an occult horror film about the suppressed feelings of a family that experienced a tragic accident. After the tragic death of the third child with a disability, the pastor and his wife decide to adopt a new child.
Kim Jin-young – The Other Child #FarEastFilmFestival was first posted on May 5, 2023 at 9:32 pm.
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PODCAST | Laura Della Corte interviews Ej Jallorinaand Maris Racal, actresses of the film Where Is the Lie?
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In the interview with Ej Jallorina and Maris Racal, main actresses in Where Is the Lie we talked about the challenges to act in a story like that and what’s the real essence of their characters.
Where Is the Lie?: Played on fragments, on flashbacks that intersect with the present planes of the three characters, Where is the Lie? by the Filipino Quark Henares is a very contemporary work in form, brilliant in execution and in which the interpretations of the two main protagonists stand out, especially by Maris Racal in the part of the sadistic Beanie.
Ej Jallorina and Maris Racal – Where is the lie #FarEastFilmFestival was first posted on May 5, 2023 at 9:24 pm.
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PODCAST | Federica Scarpa interviews Luc Bruyere “Lucky Love”, director of the film Lucky.
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In the “Real Lovers” documentary section of the 38th edition of the Lovers Film Festival, there is the film Lucky, which tells, through the voice, body and face of its protagonist, the incredible story of Luc Bruyere, model and singer. A story of resilience and acceptance, which, as the protagonist himself tells us, is a hymn to life.
Lucky: Lucky (aka Luc Bruyère) is a 28-year-old artist, performer, model, dancer and drag queen, living his life between Paris and Berlin. Lucky is a tale of finding a true identity and of self-care. The protagonist shows us many sides of his life: disability, drug addiction, mental health, and divorce-related issues. Despite all this, Luc keeps on shining bright and walking tall.
Luc Bruyere “Lucky Love” – Lucky #LFF38 was first posted on May 2, 2023 at 7:16 pm.
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PODCAST | Federica Scarpa interviews Nicky Lapierre, director of the film Astro.
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Difficult to tell the wave of emotions that overwhelms you when you watch Astro, an intense and poignant film that tells a love story (or what happens when it ends) through “visual patterns”, as the director Nicky himself told us. Lapierre. The film tells the story of him but is also fictional. The director explains why.
Astro: It’s been 7 years since non-binary director Nicky L. Lapierre told the troubled love story between Baby and Charlie. This story is the perfect starting point for a broader conversation on the creation of your own identity. It’s an experimental and non-conventional documentary, which combines fictional elements, real life images, personal experiences and unfiltered thoughts. The result is Astro: a queer and nostalgic road trip which doesn’t follow the traditional LGBTQI+ narratives, just like the lives of its two main characters
Nicky Lapierre – Astro #LFF38 was first posted on May 2, 2023 at 7:09 pm.
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PODCAST | Federica Scarpa interviews Todd Flaherty, director of the film Soft.
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In competition at the 38th Lovers Film Festival, Joseph Amenta’s debut feature, Soft, tells the story of a group of queer kids in a queer world who, an absolute novelty for the genre, don’t have to find out who they are during the film. But instead, discover the world around them. Dedicated to the queer community that becomes your family, Soft is a film full of joy at the”kids’ height”, as the director tells us.
Soft: Three queer adolescent friends find themselves in a difficult situation when they decide to sneak into a gay club in Toronto. To enter this promised land, insolent runaway Julien, lively Tony, and timid Otis decide to commit a minor crime, unaware of its indirect consequences: the disappearance of Dawn, Julien’s guardian. The three young boys start to investigate, and make unexpected, disturbing discoveries about Dawn’s life. This short debut film is intended as a sincere love letter to teenage friendship and a powerful proof of how persevering and adaptable the queer community can be.
Joseph Amenta – Soft #LFF38 was first posted on May 2, 2023 at 7:01 pm.
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PODCAST | Federica Scarpa interviews Todd Flaherty, director of the film Chrissy Judy.
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Chrissy Judy is a black-and-white romantic comedy that tells the story of a great friendship and the desire to find their own way in the world. We talked about it with the director and star of the film Todd Flaherty, for the first time behind the camera, but also for the first time in the role of a drag queen.
Chrissy Judy: Judy’s been described as many things: a free spirit, a day dreamer, a boy-crazy hot mess. But this is going to be the summer it all comes together for this ambitious, 30-something drag queen/cater-waiter and his best friend, Chrissy. That is, until Chrissy’s priorities suddenly shift, forcing a disillusioned Judy to examine his life and priorities as a queer artist, and rediscover himself in the process. In this dark comedy, “Chrissy Judy” explores the universal pain of breaking up with your best friends and questions, “What do you do when your chosen family no longer chooses you?”
Todd Flaherty – Chrissy Judy #LFF38 was first posted on April 29, 2023 at 3:48 pm.
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PODCAST | Federica Scarpa interviews Olivier Peyon, director of the film Lie with me.
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Olivier Peyon takes Philippe Besson’s novel Lie with Me, which tells of a famous novelist who returns to his home country where he relives the memory of his first great love, and how transformed it into a moving tale about memory and remembrance that we leave of us. The director tells us how he balanced the aspects of the two stories, one set in the 80s and one in the present, and how he worked with the incredible pairs of actors: on one side, the young Guilaine Londez and Jérémy Gillet, and on the other Guillaume de Tonquedec and Victor Belmondo.
Lie with Me: Upon agreeing to be the brand ambassador for a famous cognac celebrating their bicentennial, novelist Stéphane Belcourt returns to his hometown for the first time in many years. Once there, he meets his first love’s son, Lucas. Memories come rushing back to him: irrepressible attraction, bodies becoming one in the heat of desire, a passion that can never be revealed… His first love’s name was Thomas. They were 17.
Olivier Peyon – Lie with me #LFF38 was first posted on April 29, 2023 at 3:37 pm.
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PODCAST | Federica Scarpa interviews Fabian Stumm, director and actor of the film Bones and Names.
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Bones and Names tells of a couple in crisis, Jonathan busy writing his new novel, and Boris busy with the play in which he is about to star. Art mixes with life, and the lives of the two protagonists mix with those of the people around them, especially Jonathan’s young niece, who mirrors the inner turmoil of adults. We talked to Fabian about his directorial debut with this very personal story, how he worked on the visual identity of his film, how he inserted some meta-cinema scenes and, surprisingly, the Taylor Swift reference.
Bones and Names:Boris and Jonathan have been a couple for many years. When writer Jonathan gets more and more lost in his work on a new novel and actor Boris feels drawn to his younger colleague Tim during film rehearsals, they unexpectedly find themselves at a turning point in their relationship and begin to question their love. Meanwhile, Jonathan’s single mom sister Natascha strives to find more stability for herself and her small daughter Josie, who in turn struggles to deal with the approaching end of her childhood.
Fabian Stumm – Bones and Names #LFF38 was first posted on April 29, 2023 at 3:28 pm.
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In Rome, Anthony, Angela and Joe Russo, Richard Madden, Priyanka Chopra Jonas, Stanley Tucci and David Weil talk about the new tv series Citadel.Anthony, Angela and Joe Russo, Richard Madden, Priyanka Chopra Jonas, Stanley Tucci and David Weil – Citadel was first posted on April 28, 2023 at 6:11 pm.
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PODCAST | Federica Scarpa interviews Babatunde Apalowo, director of the film All the colors of the world are between black and white.
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Out of competition at the 38th edition of the Lovers film festival is the winner of the Teddy Award at the Berlinale: All the colors in the world are between black and white, the first Nigerian film with LGBTQi themes. Director Babatunde Apalowo, in his first feature film, tells us about making this poetic and touching film, made up of the unsaid and the unshown, focusing on the three protagonists and their way of experiencing love.
All the colors of the world are between black and white: Bambino and Bawa’s relationship is tested as they navigate their feelings for each other while riding around Lagos for a photo competition. Bambino grapples with his own self-doubt and uncertainty, while Bawa is convinced that their feelings are a sign of something deeper. When Bambino suffers an accident and is forced to rely on Bawa’s assistance, he begins to question his own sexuality. The close proximity between them only intensifies the situation, and Bambino, overwhelmed by confusion and anger, ultimately pushes Bawa out of his life. However, when Bambino returns with an offer of friendship, Bawa insists that he make a decision. In the end, Bambino decides to reject Bawa, leading to a heartbroken and frustrated Bawa exposing Bambino’s sexuality to a mob, resulting in a violent attack on Bambino as Bawa watches with mixed emotions.
Babatunde Apalowo – All the colors of the world are between black and white #LFF38 was first posted on April 27, 2023 at 6:59 pm.
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PODCAST | Federica Scarpa interviews Eduardo “Edu” Cortes, director of the film Hablame de ti.
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Hablame de ti was a big hit in Mexico when it was released last October, and this is not surprising because it is not easy to find coming of age in Mexican cinematography. Although less coming of age with LGBT themes. And yet, Hablame de ti conquers audiences, often young ones, wherever it is screened, as happened at the 38th edition of the Lovers Film Festival. We interviewed director Eduardo Cortes who told us how this film came about, the challenges it faced, and how his film wants to connect with younger audiences.
Hablame de ti:Chava starts getting messages from a secret admirer. In the process he’ll find that there are secrets in his family that will help him to discover who he really is.
Eduardo “Edu” Cortes – Hablame de ti #LFF38 was first posted on April 26, 2023 at 10:19 pm.
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PODCAST | Federica Scarpa interviews Mike Doyle, director of the film Passing Through.
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In his second feature film as director, Mike Doyle explores new genres and territories in Passing Through, an introspective film in which the protagonist faces himself and his demons. Doyle tells us how the idea for this very personal film was born, shot during a 10-day journey in which challenges and difficulties were not lacking.
Passing Through: After months of witnessing devastating loss, Mike finds he hasn’t the strength to leave his apartment nor the will to face another day of sickness and death. As a frontline healthcare worker, he has been stretched to his limit, and he can no longer bear the pain. Mike holes up in his apartment, stuck, deeply depressed, not knowing how he will emerge intact. As a pandemic rages outside his door, he slowly finds the strength to carry on and break free, and decides to embark on a journey across the country to rediscover himself and what he has lost over these past several grueling months. Mike orders some camping gear and tests it in his apartment. Everything seems like it is going to work out for him on this new adventure. But something is not quite right. Once on the road and isolated in the great expanse of America, Mike begins to encounter strange things. He wonders if he’s losing his mind or something more nefarious is at play. In the idyll of the open road, Mike confronts his past and breaks free of the bonds that have held him captive, only to discover that everything is not at all what he thought it was. Ultimately, Mike is released, but his catharsis retains a hint of mystery – was Mike the agent of change or a victim of his circumstances? Either way, he has passed through to something beautiful and new.
Mike Doyle – Passing Through #LFF38 was first posted on April 26, 2023 at 10:03 pm.
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PODCAST | Chiara Nicoletti interviews Ann Oren, director of the film Piaffe.
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After Locarno Film Festival last summer, Ann Oren is at the 36th Bolzano Film Festival for the Italian premiere of her first feature film, Piaffe. Based on a short film, Passage, Piaffe is also an homage to Foley artistry. As it is, in a way, also a coming of age following its protagonist Eva, Piaffe doesn’t follow the usual character’s arch, instead, tries to follow the narrative of life.
Piaffe: When her sibling Zara suffers a nervous breakdown, the introvert Eva is forced to take on Zara’s job as a Foley artist. She struggles to create sounds for a commercial featuring a horse, and then a horsetail starts growing out of her body. Empowered by her tail, she lures a botanist into an affair through a game of submission. Piaffe is a visceral journey into control, gender, and artifice.
Ann Oren – Piaffe #BFFB36 was first posted on April 26, 2023 at 9:49 pm.
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PODCAST | Chiara Nicoletti interviews Marta Andreu, filmmaker, producer, and academic director.
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Cinema is something we have to make an experience of, that the audience have to touch. These are some of the basis filmmaker, producer, and academic director Marta Andreu starts from in her lectures and in the Masterclass she held at the 36Th Bolzano Film Festival, Surviving Landscape.
In 2017 Marta Andreu created WALDEN, a space for documentary creation. Since 2000 she teaches documentary seminars and workshops internationally (DocNomads, Di Tella University, EICTV, CCC, Frontera Sur, AricaLab, DocumentaMadrid, DOCSP, Ibermedia, Playdoc, Ventana Madrid, CIMA…) and she works as a tutor for Eurodoc, Torino Film Lab, Visions du Réel, DocMontevideo. Since 2011 She’s a member of the World Cinema Fund. In 2004 she founded Playtime and produced LA TERRA HABITADA (Visions du Réel 2009), CUCHILLO DE PALO (Berlinale 2010), SALÓME (NordiskPanorma 2014, Best Film Award), OLEG (Rotterdam 2015); AMANECER (FICCI 2018, Best Film Award).
Surviving Landscapes We know it, and we feel it probably every day…. Nature seems to perish. There is a visible, palpable wound that does not go away and can do nothing but remind us of our part. Indeed, “places die like people, even though they seem to survive”, as a french poet once said. What to do about it? Or, more precisely, what can art do about it? What can cinema do? I would like to propose a journey from a hundred-year old recovered image of a volcano (from a film that Jean Epstein made in Italy in 1923) to a painted mountain obsessively chased by Cezanne more than eighty times and later mourned twice by cinema (in two films by Jean Marie Straub and Danielle Huillet). And from there to a fragile encounter between a mountain and a contemporary filmmaker, Salome Lamas, on a Portuguese island. Through bits and pieces of cinema, poetry, painting, and maybe even music, I seek to remind us that perhaps it is through creation that we can restore to the landscape the possibility of resistance and survival.
Marta Andreu #BFFB36 was first posted on April 22, 2023 at 8:22 am.
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PODCAST | Nicol Ellecosta interviews Vasco Pimentel, sound engineer of the film Lisbon Story.
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Interviewed by Nicol Ellecosta, Vasco Pimentel tells us about his career as a sound engineer in which he has worked with such legends as Wim Wenders. Invited by the Bolzano Film Festival to lead a Masterclass on tone, Vasco expounds on the secrets of what distinguishes a good sound technician and to never forget to be curious.
Lisbon Story: Film Sound Designer, born in Lisbon, Portugal, 1957. Primary & Secondary Education at Deutsche Schule Lissabon. Further German studies at Goethe Institut, Lisbon. Musical education (piano, violin, composition) at Conservatorio Nacional de Lisboa. Graduation (Cinema) from Escola Superior de Teatro e Cinema de Lisboa. Constant collaboration with Teatro da Cornucopia as a Musical Director and Sound Designer. Supervising Producer / Editor of spoken word CD’s, Composer of Original Music Score for feature films ASPERN PAPERS e ANDRE VALENTE. Teaching, Masterclasses and Workshops for Universities, Schools and Festivals. Starting 1979, constant activity a Foley Artist, Sound Recordist, Sound Editor, Sound Designer and Dubbing Mixer on over 150 feature films.
Vasco Pimentel – Lisbon Story #BFFB36 was first posted on April 22, 2023 at 8:12 am.
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PODCAST | Chiara Nicoletti interviews Anke Leweke, jury member at the 36th edition of the Bolzano Film Festival.
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Film critic, journalist, radio journalist, film festival consultant and curator, Anke Leweke is at the Bolzano Film festival as a member of the Official competition jury. Leweke talks about how she will try and “judge” the films with her fellow jurors. Since she is an expert radio host and in 2008 she was awarded, in Germany, as the Best Radio Journalist of the year, we discuss with her about how promoting, commenting and reviewing cinema on the radio has changed and developed in recent years.
Anke Leweke – Official Competition Jury #BFFB36 was first posted on April 22, 2023 at 8:00 am.
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PODCAST | Francesca Raffi interviews Nina Reviers, Anna Jankowska and Gert Vercauteren.
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Nina Reviers, Anna Jankowska and Gert Vercauteren from University of Antwerp tell us more about ARSAD 2023: audio description experiences in diverse formats and environments, creation and translation, training, technologies and user involvement. Nina, Anna and Gert also give us a preview of the next international event dedicated to media accessibility and audiovisual translation in general: Media for All 10 and its main theme, “human agency in the age of technology”.
ARSAD 2023 Since 2007, ARSAD has been the meeting point for researchers, industry, trainers, trainees, users, practitioners, regulators, broadcasters, policy makers, social activists, cultural managers and anyone interested in audio description. After an edition moved online due to the pandemic, the ARSAD community meets again in Barcelona (20-21 April 2023) to discuss the latest trends and challenges in audio description.
MEDIA4ALL The Transmedia research group organised its first conference in Barcelona in 2005. Ever since, Media for All has travelled all over Europe and beyond. The 10th edition of Media For All will take place in Antwerp (July 6-7, 2023) and the the focus will be on the role of human agents in the translation process. Media For All 10 aims to map the changing profiles of stakeholders in the field of AVT and MA, practice and research, and elicit the many complex relations in which human agents engage.
Nina Reviers, Anna Jankowska, Gert Vercauteren #ARSAD2023 was first posted on April 21, 2023 at 9:59 pm.
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PODCAST | Chiara Nicoletti interviews Ayşe Polat, director of the film In the blind spot – Im Toten Winkel.
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In the blind spot, closing film of a trilogy by Ayşe Polat, which premiered in the Encounters Section at the 73rd Berlinale, is in competition at the 36th Bolzano Film Festival. Kurdish German director Ayşe Polat talks about the film wanting to portray the side of the victims but this time, also the perpetrators’ one as a way to know all the perspectives. In the blind spot plays a lot with the supernatural elements as well. As a woman director, Polat also offers her view on the “female gaze” and the status of women in the film industry.
In the blind spot – Im Toten Winkel: A German film team is shooting a documentary in northeastern Turkey. In a remote Kurdish village, they witness an elderly woman performing a recurring ritual to keep the memory of her missing son alive. The Kurdish translator of the German crew is also the nanny of Melek, a 7 year – old Turkish girl. Her father, Zafer, works for a sinister organization and is caught between loyalty to them and fear for his family’s well – being when his daughter appears to be haunted by a mysterious force. The fatef ul encounter of these people develops a destructive power. IN THE BLIND SPOT unravels a complex net of conspiracy, paranoia and generational trauma.
Ayşe Polat – In the blind spot – Im Toten Winkel #BFFB36 was first posted on April 21, 2023 at 9:31 pm.
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PODCAST | Chiara Nicoletti interviews Christine A. Maier, guest of honor at the 36th edition of the Bolzano Film Festival.
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At the 36th Bolzano Film Festival – Bozen directed by Vincenzo Bugno, Austrian cinematographer Christina A.Mayer is the guest of honor at this year’s edition and just received a career award from the Festival for her outstanding contribution in films like Quo Vadis, Aida? and Licht by Barbara Albert. Mayer talks about when she first became interested in cinema in her childhood years and then cinematography, when the women DOPs were only two. The cinematographer who’s also a professor, talks about how the number of women cinematographers has increased in the last 10 years as a result that things in equality and representation are effectively changing.
Christine A. Maier’s cinematography has been featured in films by Henner Winckler, Amie Siegel, Jamie Babbit, Barbara Albert and Jasmila Žbanić, whose film Grbavica won the Golden Bear at Berlinale in 2006. Quo Vadis, Aida?, her recent cooperation with Žbanić, won the European Film Award for Best Film 2021 and was nominated for the International Feature Film category of the 2021 OSCARs and BAFTAs. She received the Austrian Film Award for Best Cinematography 2021 and the German Camera Award 2021 for Quo Vadis, Aida? She got the Austrian Film Award 2018 for Mademoiselle Paradis and was nominated 2019 for the Austrian Film Award for Life Guidance. 2021 she became a member of the Academy of Motion Picture Arts and Sciences.
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Christine A. Maier – Career Award #BFFB36 was first posted on April 21, 2023 at 9:05 pm.
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PODCAST | Francesca Raffi interviews Marie Campbell, professional audio describer and lead trainer in Red Bee Media’s Audio Description team.
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Using her 20+ years of describing experience, as well as her training expertise across Red Bee Media’s English language operations, Marie Campbell will look back at the journey AD editorial guidelines have been on with regards to sensitive content, starting when AD in the UK was in its infancy and the nascent guidelines were predicated on a linear televisual landscape that looked, by default, much more “white” and “male” compared to what we see on our screens today. She will explore how a desire to avoid “othering” led to outdated guidelines that failed to describe the diversity of the world we live in as televisual content started to change and embrace that diversity in a more visual and meaningful way.
Marie Campbell has been describing for over 20 years and is the lead trainer in Red Bee Media’s Audio Description team. She started out in London, helping to set up the BBC’s first ever AD department, where she developed editorial guidelines and new bespoke software while integrating the service into the wider, well-established broadcast chain. Marie has described for the majority of UK broadcasters, overseen the describing of 200+ films on the theme of disability for the British Film Institute and been part of the pre- recorded AD team during the Winter and Summer Paralympics. She continues to be at the forefront of AD excellence, developing guidelines and using her expertise to train new scriptwriters and voicers in the UK, USA and Australia, tailoring the service to different English-speaking countries, while integrating workflows, maximising collaboration and providing ongoing support to new AD teams. Marie is currently looking at how e-learning can be used to facilitate audio description training.
Since 2007, ARSAD has been the meeting point for researchers, industry, trainers, trainees, users, practitioners, regulators, broadcasters, policy makers, social activists, cultural managers and anyone interested in audio description. The 2023 edition will kick start discussing the growing role of technology as a cornerstone of our everyday interactions. Technology facilitates contact, provides new opportunities but it also faces us with some challenges. In this technologically-driven world an awareness of social aspects is also growing, from diversity to sustainability, with collaboration at the core of many social actions. Within this context ARSAD aims to be a thought-provoking event where we can learn about the present of audio description across the globe from multidisciplinary perspectives and where we can get a glimpse of the future of this fascinating access mode.
Marie Campbell #ARSAD2023 was first posted on April 21, 2023 at 3:16 pm.
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PODCAST | Chiara Nicoletti interviews James Gray, director of the film Armageddon Time.
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At the 14th Rome International Film Festival, James Gray talks about Armageddon Time, his autobiographical film, out in Italian Cinemas from March 23rd with Universal Pictures. The director wrote the film with the help of his brother as he’s the one remembering every single detail of their childhood.
Armageddon Time: From acclaimed filmmaker James Gray, Armageddon Time is a deeply personal story on the strength of family, the complexity of friendship and the generational pursuit of the American Dream. The film features an all-star cast including Anthony Hopkins, Anne Hathaway and Jeremy Strong
James Gray – Armageddon Time #RoFF17 was first posted on March 27, 2023 at 7:34 pm.
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PODCAST | Chiara Nicoletti interviews the director Jaco Van Dormael.
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Jaco Van Dormael, protagonist of Europe, Now! at the 41st Bergamo Film Meeting talks about his cinema and the complete retrospective of his works the festival has organized. The festival will also present the 4K restored version of his first film, Toto le héros that will come back to italian cinemas from April 17th thanks to I WONDER CLASSICS. The director shares with us his memories from that Festival De Cannes of 1991 where he presented Toto le héros to the cinema world.
Jaco Van Dormael (Ixelles, Belgium, 1957) He’s a director, screenwriter and producer. Raised between Germany and Belgium, Van Dormael first developed a passion for theatre, which accompanied him throughout his artistic career. At the age of eighteen, he took up clowning and became a director of children’s shows. After studying film at Louis-Lumière in Paris and INSAS in Brussels, he wrote and directed his first short documentary and fiction films in the early 1980s. The best known, È pericoloso sporgersi (1984), is the story of a child who experiences two possible versions of his future. The short film won the Grand Prix at the Clermont-Ferrand festival, revealing Van Dormael’s experimental, non-linear, dreamlike and visionary narrative style, his predilection for childhood characters and themes, and his near-obsession in depicting the complexity of life, caught between choices and destiny, between limitations and possibilities. Success with audiences and critics came in 1991 with his first feature film, Toto le héros (Toto the hero at the end of the millennium), in which old Totò is convinced he’s been swapped with his neighbour as a baby and is determined to take revenge for having been robbed of his actual life. On its debut at Cannes, the film won the Caméra d’Or, followed by a César and four European Film Awards. In 1996, he presented Le Huitième Jour (The Eighth Day), a Palme d’Or at Cannes for the two leads – Daniel Auteuil and Pascal Duquenne – who portray on screen a unique friendship that develops between an ordinary man and a boy with Down Syndrome. At the core of the film is another theme that runs through Van Dormael’s filmography, i.e. physical and mental disability, always portrayed respectfully and sympathetically. Several years later, Van Dormael directed Mr. Nobody (2009), starring Jared Leto and Sarah Polley and winner of the Best Screenplay award at the Venice Film Festival. Picking up on the subject of the “alternative” lives of È pericoloso sporgersi (in fact, all of Van Dormael’s films refer to each other), he portrays a hypothetical future where Nemo Nobody, the last of mortals and the world’s oldest man, retraces all the possible versions of his past, in a tangle of lives lived or imagined, conditioned by individual choices and chance. Van Dormael’s fourth feature film, Le tout nouveau testament (The Brand New Testament) came out in 2015. A surreal comedy where a despotic and violent God torments and controls the destinies of humans through an old computer, the film premiered at the Quinzaine des Réalisateurs in Cannes to critical acclaim, was a box-office success and won four Magritte Awards, including Best Film, Best Director and Best Screenplay. Jaco Van Dormael is not a prolific author, accustomed as he is to developing his scripts over the years, reworking ideas and suggestions collected in notes accumulated day by day. More than a decade has passed between one film and the next, even if interspersed with a few shorts and theatrical plays. From such perspective, Bovary (2021), his latest work, represents an anomaly: born from a stage adaptation of Flaubert’s novel and written by Michael De Cock, artistic director of the Royal Flemish Theater in Brussels. The original play was to be performed live but was cancelled due to the pandemic. To deliver it to an audience, Van Dormael agreed to shoot in a very short time and bring it to life on the screen: “In five days, I tried to make something that is neither film nor theatre”, making extensive use of back projection and extended close-ups or resorting to other cinematic gimmicks. An experiment born out of an emergency situation, which nevertheless allowed Van Dormael to combine, for once, his passion for cinema and the stage.
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Jaco Van Dormael – Retrospective of complete works in the Europe, Now! section #BFM41 was first posted on March 22, 2023 at 6:37 pm.
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PODCAST | Chiara Nicoletti interviews Michaela Pavlátová, director and animator.
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At the 41st edition of Bergamo Film Meeting, Czech director and animator Michaela Pavlátová is the protagonist of the section dedicated to auteur animation. The director reveals how she’s surprised and honored that the Festival organized a world premiere of her complete works consisting of 25 titles, including shorts and features, and two live-action films. Pavlátová then tells us more about when and why she began working in the animation field and what is the fil rouge that connects her works.
Michaela Pavlátová (Prague, 1961) graduated from the Academy of Arts, Architecture and Design in Prague in 1987. In the same year, as an end-of-study film, she made her first 2D animated short – a recurring technique in her filmography – Etuda z alba (An Etude from an Album) in which, with spare traits and light-hearted humour, the stylistic and thematic characteristics that will recur in her filmography are already noticeable. Řeči, řeči, řeči (Words, Words, Words, 1991) is a visual representation of the thoughts and speeches that hover in a bar full of people: the creativity and originality with which Pavlátová depicts an ordinary scenario earned her an Oscar nomination for Best Animated Short in 1993. From this point onwards, Pavlátová achieved such recognition and acclaim that she became, to all intents and purposes, the most internationally recognised animation director of the new generation, earning the praise of critics and audiences alike. With Repete (Repeat, 1995), thanks to the combination of compositional refinement and sarcasm, enhanced by pastel drawing animation, Pavlátová won two significant awards: the Special Prize of the Jury at the International Animation Festival in Annecy and the Golden Bear for Best Short Film in Berlin. From 1998 to 2002, she split her time between Prague and San Francisco, where she worked as an art director for the animation studio Wildbrain Inc. In 2003, she directed her first live-action feature film, Nevěrné hry (Faithless Games), reflecting on the dynamics of couples and the search for marital harmony. At the same time, she confirmed her versatility by continuing to produce animated shorts; in 2008, she directed her second fiction feature film Děti noci (Night Owls), presented at the Karlovy Vary Film Festival, where it won the awards for best male and female performances. Some of Pavlátová’s films also have an erotic component, sometimes shown in a suggestive manner, other times more explicitly but never vulgar: these include Karneval zvířat (The Carnival of the Animals, 2006) or Tram (2012), which won the Cristal award at Annecy and the Special International Jury Prize at the Hiroshima International Animation Festival for its ingenious and ironic presentation of female erotic fantasies. In 2021 she directed My Sunny Maad, the first animated feature film that, maintaining its typical spare but elegant traits, puts aside black humour to portray a very timely story of conquering freedom and one’s rights through the eyes of a European woman who, for love, moves to Kabul. Michaela Pavlátová currently teaches animation at the prestigious FAMU – Academy of Performing Arts, Film and TV School in Prague, but has also held courses at the Academy of Art College, Computer Arts Institute in San Francisco, Harvard University and VSUP – Academy of Arts, Architecture, and Design in Prague. She has also been a member of international juries at prestigious film festivals.
Michaela Pavlátová #BFM41 was first posted on March 17, 2023 at 9:08 pm.
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PODCAST | Chiara Nicoletti interviews Ursula Meier, director of the film Ursula Meier’s retrospective.
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Bergamo Film Meeting reconnaissance of contemporary European cinema on its 41st edition will focus on the works of Ursula Meier (France – Switzerland) – which straddle the thin borderline between fiction and documentary – masterfully analyse the profound ambivalence of emotional ties. These are the words through which the Festival has described the French director. Ursula Meier comments on the homage to her work the 41st Bergamo Film Meeting has organized and talks about the fil rouge that connect all her films, from Home (2008) to the latest one, La Ligne.
Ursula Meier’s retrospective: Ursula Meier is a director and screenwriter. She often navigates the thin borderline between fiction and documentary, analysing with great skill the profound ambivalence of emotional ties. Growing up in eastern France, near the Swiss border, she studied film and television production in Belgium at the IAD – Institut des Arts de Diffusion and began working as an assistant to Alain Tanner in the second half of the 1990s. Her diploma film, Le Songe d’Isaac, and the subsequent Des Heures sans sommeil (1998), won the special jury prize at the Festival international du court métrage de Clermont-Ferrand and the International Grand Prix at the Toronto Film Festival, and allowed her to devote herself to cinema full time. In 2001, she directed the short film Tous à table – about a group of friends who meet at a special birthday dinner – which won the audience award at Clermont-Ferrand. After two documentaries, Autour de Pinget (2000) – a tribute to the work of the writer Robert Pinget – and Pas les flics, pas les noirs, pas les blancs (2002) – on the extraordinary story of Alain Devegney, deputy sergeant of the Geneva gendarmerie – she directed Des épaules solides (2003), produced for the ARTE series “Masculin-Féminin/Petite Caméra”, achieving great success with the public and a nomination for the Swiss Film Prize. The film tells the story of Sabine, a talented young athlete who wants to pursue a professional sports career and pushes her body to extreme limits. Her first feature film was Home, starring Isabelle Huppert, in 2008, in which she recounts the vicissitudes of a family living in a remote cottage near a closed motorway, which, to their surprise and concern, is about to be reopened, with all the unpleasant consequences imaginable. The film was presented during the International Critics’ Week at the 2008 Cannes Film Festival and received a nomination for the 2009 César Awards in the Best First Feature category and was nominated for Best Cinematography and Best Production Design. In 2012, with L’Enfant d’en haut (Sister), the story of siblings Simon and Louise, she received a special mention for the Silver Bear at the Berlin Film Festival and represented Switzerland in the nominations for the 2013 Oscar for Best Foreign Language Film; she also received a nomination at the 2013 Lumière Awards for Best Francophone Film and one at the 2013 Independent Spirit Awards for Best Foreign Language Film. In 2014, she was among the 13 directors who created the collective film The Bridges of Sarajevo, shot on the occasion of the WWI 100th anniversary and presented at the Cannes Film Festival; her segment, Tišina Mujo, takes place during a football practice in the Zetra stadium, where little Mujo misses a penalty kick by sending the ball over the fence. She then made Kacey Mottet Klein, Naissance d’un acteur (2015), a short film which documents the physical and professional growth of the young actor starring in her two previous films, and Ondes de choc – journal de ma tête (2018), a feature film with Fanny Ardant, in which a young man kills his parents after sending his secret diary to his French teacher. La ligne (The invisible line, 2022), the story of three sisters, a mother and a forced distance, is Meier’s latest work presented in competition at the 2022 Berlin Film Festival starring Valeria Bruni Tedeschi. The film recounts the dynamics of an atypical family, in which it’s space that defines affections and relationships.
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Ursula Meier – Ursula Meier’s retrospective #BFM41 was first posted on March 17, 2023 at 8:48 pm.
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PODCAST | Chiara Nicoletti interviews Hannah Gross, Michael Cera, Sophia Lillis, director of the film The Adults.
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Hannah Gross, Michael Cera and Sophia Lillis talk about the journey they’ve been on, between childhood memories and real life, thanks to The Adults by Dustin Guy Defa. The film, screening in the Encounters section at the 73rd Berlinale, sees the actors playing a brother and his two sisters on the difficult path to become “adults” in every responsible sense of the word.
The Adults: A brief trip back home turns into a longer stay as Eric (Michael Cera) finds himself caught between catching up with his two sisters and conquering his old poker group. The longer Eric extends his visit so he can leave his mark as the best poker player in town, the harder it becomes to avoid unearthing the tumultuous relationship with his sister Rachel (Hannah Gross). As their little sister Maggie (Sophia Lillis) attempts to recreate the intimate world the three of them once shared, Eric and Rachel are faced with the divide between their childhood selves and the adults they are now.
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Hannah Gross, Michael Cera, Sophia Lillis – The Adults #Berlinale2023 was first posted on March 10, 2023 at 8:21 am.
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PODCAST | Angelo Acerbi interviews Simon Baker, actor of the film Limbo.
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Simon Baker, one of the lead characters in the film Limbo by Ivan Sen, in the Competition section at Berlinale 73, talks about the different narrative layers of the film, the bending of the cold case genre to a more dramatic and intimate story, his approach to the character and his future work as a film director, again.
Limbo: Detective Travis Hurley arrives in a small town in the Australian outback. The Hotel Limbo, which resembles a rocky grotto, proves to be perfect for his very own particular type of relaxation. But he has come here to investigate a case from 20 years ago for which the only evidence is a number of tape recordings: the unsolved murder of an Aboriginal girl named Charlotte Hayes. The residents are less than forthcoming regarding the provision of information; this is especially true of the victim’s fractured family. You do not talk to a cop, especially if he is white. But Hurley, in a stoic performance by Simon Baker, knows how to wend his way in his cool car through the labyrinthine landscape of the Opal Mountains and form a bond with the cave and caravan dwellers.
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Simon Baker – Limbo #Berlinale2023 was first posted on March 6, 2023 at 8:29 pm.
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PODCAST | Angelo Acerbi interviews Sam H. Freeman and Ng Choon Ping, directors of the film Femme.
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Sam H. Freeman and NgChoon Ping deliver an outstanding movie with Femme, in Panorana at Berlinale 73. In this talk we analyse the issues of homophobia , heterophobia and toxic masculinity , going deep into explaining the mission the film has and the formal construction of it, that makes it one of the most surprising feature s of the whole festival.
Femme: With his performances as Aphrodite Banks, Jules has a place among London’s celebrated drag artists. One night after a show, he steps out to get some cigarettes and is brutally attacked by a guy out with a gang of blokes. Although Jules is able to recover physically, he withdraws from the outside world, traumatised. Months later, he recognises his attacker by chance in a gay sauna. Without make-up and wrapped only in a towel, Jules is able to approach the other man incognito and find out who he is. He begins an affair with the closeted homosexual Preston in order to take his revenge.
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Sam H. Freeman, Ng Choon Ping – Femme #Berlinale2023 was first posted on March 3, 2023 at 8:59 pm.
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PODCAST | Angelo Acerbi interviews Tian Xiaopeng, director of the film Deep Sea.
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Tian Xiaopeng creates with Deep Sea, in the generation Kplus section at Berlinale 73, a magic blend in stunning visuals and hyper-colourful images. He tells us the path that lead to this creation and the ideas behind the stpry of a young girl that deals with death and memories.
Deep Sea: Shenxiu has felt a deep sadness since her mother left the family. Awaking after a storm at sea, she finds herself in a kaleidoscopic, dreamlike world of swirling colour and cascading water, vividly realised in 3D animation. Guided by a many-eyed creature, the Hyjinx, she embarks on a quest to locate the Eye of the Deep Sea where she hopes to meet her mother again. She is accompanied by the wildly experimental chef and ship’s captain Nanhe whose restaurant under the ocean has fallen on hard times. To pay off his debts, he seeks a way to revive his signature soup dish, despite a scarcity of ingredients. It will take all of Shenxiu’s courage to brave the feared Red Phantom and weather the darkest storms, never losing sight of life’s bright moments.
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Tian Xiaopeng – Deep Sea #Berlinale2023 was first posted on March 3, 2023 at 8:41 pm.
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PODCAST | Angelo Acerbi interviews Wu Lang, director of the film Absence.
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Wu Lang narrates a story of redemption and coming back, in his film Absence, in the Encounters section of Berlinale 73. He motivates his choices and his overlook on the human relationships and the interaction with man and nature and modernity, in this talk with Angelo Acerbi.
Absence: As Han Jiangyu focuses his attention on the dead fish and the lobsters slowly dying on the grill, he asks his childhood friend Kei if the animals have a soul. Kei’s business is booming. The island of Hainan, to which Jiangyu has returned after ten years in prison, has changed dramatically. It has become a flagship site of intensive housing construction – and therefore also a paradise for rip-offs and fraud. Jiangyu also meets his old love again. She now has a daughter. Could the girl be his?
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Wu Lang – Absence #Berlinale2023 was first posted on March 3, 2023 at 8:31 pm.
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PODCAST | Chiara Nicoletti interviews Felia Allum, curator of the Donne di Mafia Film Festival.
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Felia Allum, curator of the Donne di Mafia Film festival unveils the program of the third edition of this mini festival organised by CinemaItaliaUK and sponsored by Jacobacci & Associati and the Department of Politics, Languages and International Studies, University of Bath. The third edition of this Mini film festival ‘Donne di Mafia, having a voice returns at the Garden Cinema, in London and will be showing two features, Una femmina, The Code of Silence (2022) and Prima Donna, The girl from tomorrow (2022) plus a short film, Stay Behind (2022) over the course to the weekend.
Mini film festival ‘Donne di Mafia, having a voice’ returns for its third year at the Garden Cinema, in London Organised by CinemaItaliaUK and sponsored by Jacobacci & Associati and the Department of Politics, Languages and International Studies, University of Bath, Donne di Mafia film festival will take place at the Garden Cinema on 4 – 5 March 2023. Two features and a short film will be shown over the course to the weekend. The two features address the question of women in the Calabrian and Sicilian mafia contexts, while the short film proposes a different reading of events of post-war Italy, mafia, secret services and politics.
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Felia Allum – Donne di Mafia Film Festival was first posted on March 2, 2023 at 1:26 pm.
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PODCAST | Angelo Acerbi interviews Bas Devos, director of the film Here.
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Bas Devo brings, with his film Here, a breath of humanity and kindness to the screen of the Berlinale 73, for us the audience to enjoy and take in. His filmmaking is very fluid and effective, and he tells us the work he did with his actor Stefan Gota to build such a gentle and human character without making him corny or unreal.
Here: Stefan, a Romanian construction worker living in Brussels, is on the verge of moving back home. He cooks up a big pot of soup with leftovers in his fridge, to hand out as a goodbye gift to friends and family. As he is ready to go, he meets a Belgian-Chinese young woman who works in a little restaurant while preparing a doctorate on mosses. Her attention for the near-invisible stops him in his tracks.
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Bas Devos – Here #Berlinale2023 was first posted on February 28, 2023 at 9:29 pm.
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PODCAST | Angelo Acerbi interviews Susana Nobre, director of the film Cidade rabat.
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Susana Nobre is for the second time at Forum, this year with Cidade Rabat, a film about dealing with grief and starting again to love ourselves. We talked about her personal inspiration and the unusual approach to an issue that is often treated with weight and strong seriousness.
Cidade rabat: Helena is 40. She works as a film production assistant, has a daughter, an ex-husband, a lover and, at the beginning of the film, a mother. In one of the first scenes, she visits the old woman for lunch. A little later, Helena (Raquel Castro) is sitting with her sister at the undertaker’s, deciding between an open or closed casket for the funeral service.
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Susana Nobre – Cidade rabat #Berlinale2023 was first posted on February 28, 2023 at 9:21 pm.
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PODCAST | Angelo Acerbi interviews Tia Kuovo, director of the film Family Time.
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Tia Kuovo brings us into a very personal Christmas Day , using it as an excuse to analyse family dynamics. With Family Time, in the Encounters section at Berlinale 73, she presents an approach to family rites and sometimes unbearable situations that can transcend their nature and become universal.
Family Time: Family Time begins with a door that keeps on opening to let its characters into a house surrounded by nature that will be the setting of much of the film, and welcomes the audience into a small world that is portrayed with fierce tenderness and surprising rigour. Three generations come together for the holidays and re-enact a seasonal ritual of traditions, conversations and household chores.
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Tia Kuovo – Family Time #Berlinale2023 was first posted on February 28, 2023 at 9:07 pm.
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PODCAST | Chiara Nicoletti interviews Bas Devos and Stefan Gota, director and actor of the film Here.
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With Here, his new film screening in the Encounters section at the 73rd Berlinale, Bas Devos reminds us how we are all connected, not only with other human beings but also with the little “non-human” things surrounding us, even with moss hiding everywhere. Once we see it, we can’t unseen it anymore and it changes you as a love story does. That’s what happen to the protagonist, Stefan, in his epiphanies of connections.
Here: Stefan, a Romanian construction worker living in Brussels, is on the verge of moving back home. He cooks up a big pot of soup with leftovers in his fridge, to hand out as a goodbye gift to friends and family. As he is ready to go, he meets a Belgian-Chinese young woman who works in a little restaurant while preparing a doctorate on mosses. Her attention for the near-invisible stops him in his tracks.
To discover more about the Berlin International Film Festival, click here.
Bas Devos, Stefan Gota – Here #Berlinale2023 was first posted on February 28, 2023 at 6:54 pm.
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PODCAST | Chiara Nicoletti interviews João Canijo, director of the film Bad Living.
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There’s a portoguese director João Canijo who at the 73rd Berlinale just brought two films, Mal Viver – Bad Living in the official competition and Viver Mal – Living Bad, a mirror film to the first one, in Encounters. The director talks about the starting point of the two films which are both set in a hotel run by three generations of women. In Mal Viver, which is Canijo most autobiographical and personal film, we look at a matriarcal family and their corrupted relations. In Viver Mal instead, we see things from the clients’ perspective which personalities are inspired by three drama plays by August Strindberg including The Pelican. Mal Viver just won the Silver Bear Jury Prize at the 73rd Berlinale.
Mal Viver – Bad Living: In a family-run hotel, by the Portuguese northern shore, lives a group of women from different generations of the same family, whose relationships with each other have grown poisoned by bitterness. They try to survive in the declining hotel, as the unexpected arrival of a granddaughter to this oppressive space stirs trouble, reviving latent hatred and piled-up resentments.
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João Canijo – Mal Viver – Bad Living #Berlinale2023 was first posted on February 26, 2023 at 9:47 am.
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PODCAST | Federica Scarpa interviews Liu Jian, director of the film Art College 1994.
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It was in 2017 when the Chinese director/animator Liu Jian brought his second film, Have a Nice Day, to competition at the Berlinale. This year, six years later, the director returns with Art College 1994, a long story of the everyday life of some art students in China in 1996. The director expresses his thoughts on art, recalls one of the funniest moments of his time at college and explains why that formative period in each of our lives is so important to him.
Art College 1994: In the 1990s, a group of students on the campus of the Chinese Southern Academy of Arts are pursuing their studies and preparing to face the world. China is opening up to the West and the students’ lives are a tangle of love stories and friendships, artistic research, ideals and ambitions brought about by new influences. Caught between tradition and modernity, they have to decide who they want to become. Filmmaker and painter Liu Jian returns to the Berlinale Competition with an animated film that combines stylised modern illustrations with a passion for art and life. Suffused with a dark offbeat humour, his work depicts the hopes and artistic dreams of an entire generation as it passes into adulthood. People, events and styles blend with the urban and winter landscape of a country undergoing rapid change.
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Liu Jian – Art College 1994 #Berlinale2023 was first posted on February 25, 2023 at 3:59 pm.
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PODCAST | Angelo Acerbi interviews Rolf De Heer, director of the film The Survival Of Kindness.
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Rolf De Heer, director of The Survival of Kindness, in Competition at the Berlinale 73, talks with Fred Radio about the way this film was born, the peculiar way of wruitung if and the intense but rewarding process of shooting, to create a movie with a powerful message against racism.
The Survival Of Kindness: In the middle of the desert, BlackWoman is abandoned on a trailer, in a cage. Her captors have left her to die. But she is not ready to pass. She escapes, and walks through pestilence and persecution, from desert to mountain to city, to find … more captivity. Those responsible are reluctant to relinquish their privileges, and BlackWoman, escaping once more, must find solace in her beginnings. As in his last film Charlie’s Country, the tragic hero of Rolf de Heer’s new work clearly asks: “What is left of our humanity?” This time the hero is a woman, portrayed with an unforgettable mix of bravery and weariness by Mwajemi Hussein. The Dutch-Australian filmmaker’s searing moral fable subverts our expectations by playing with a variety of genres, but confirms his indisputable understanding of the burden endured by ethnic minorities in a white man’s world. Their tragedy is amplified by the apocalyptic situation in which humankind finds itself, and their isolation further underlined by the film’s striking and meticulously composed dystopian landscapes. Poised between poetry and despair, BlackWoman’s thought-provoking story gradually gives shape to the most moving of exploits: the will to resist.
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Rolf De Heer – The Survival Of Kindness #Berlinale2023 was first posted on February 25, 2023 at 3:37 pm.
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PODCAST | Angelo Acerbi interviews Mawjemi Hussein, actress of the film The Survival Of Kindness.
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Mwajemi Hussein is the lead character in The Survival Of Kindness, by Rolf De Heer, in Competition at the Berlinale 73. It is her first ever role, never acted or even thought about cinema. She brought to this role her personal experience of being a Congolese refugee first in Tanzania and then in Australia. And she totally nailed it.
The Survival Of Kindness: In the middle of the desert, BlackWoman is abandoned on a trailer, in a cage. Her captors have left her to die. But she is not ready to pass. She escapes, and walks through pestilence and persecution, from desert to mountain to city, to find … more captivity. Those responsible are reluctant to relinquish their privileges, and BlackWoman, escaping once more, must find solace in her beginnings. As in his last film Charlie’s Country, the tragic hero of Rolf de Heer’s new work clearly asks: “What is left of our humanity?” This time the hero is a woman, portrayed with an unforgettable mix of bravery and weariness by Mwajemi Hussein. The Dutch-Australian filmmaker’s searing moral fable subverts our expectations by playing with a variety of genres, but confirms his indisputable understanding of the burden endured by ethnic minorities in a white man’s world. Their tragedy is amplified by the apocalyptic situation in which humankind finds itself, and their isolation further underlined by the film’s striking and meticulously composed dystopian landscapes. Poised between poetry and despair, BlackWoman’s thought-provoking story gradually gives shape to the most moving of exploits: the will to resist.
To discover more about the Berlin International Film Festival, click here.
Mawjemi Hussein – The Survival Of Kindness #Berlinale2023 was first posted on February 25, 2023 at 3:28 pm.
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PODCAST | Angelo Acerbi interviews Ira Sachs and Franz Rogowski, director and actor of the film Passages.
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Ira Sachs and Franz Rogowski, respectively director and actor of the film Passages, are in conversation with Angelo Acerbi about the issues of love, trust and jealousy that are common to any relationship, regardless the gender of the lovers. It is a question of commitment and balance, but this balance can be shaken. A good starting point to analize a very very good film.
Passages: On the final day of his shoot in Paris, German filmmaker Tomas is visibly tense. He is all stern exactitude as he explains to his extras just precisely how to position their hands or what their motivation is as they walk down a flight of stairs – right up until the final slate. At the wrap party, Tomas falls first into the arms of his British husband Martin, but then he meets a young primary school teacher, Agathe. A dance develops into a flirtation and then into a passionate night together. The next morning, Tomas proudly tells Martin that he has slept with a woman. As this one-night stand grows into something more, the relationship between the two men begins to change. A tale of relationships that is marked by passion, jealousy and narcissism unfolds in which each shows scant sensitivity for the needs of the others.
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Ira Sachs, Franz Rogowski – Passages #Berlinale2023 was first posted on February 25, 2023 at 3:06 pm.
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PODCAST | Chiara Nicoletti interviews Leandro Koch, Paloma Schachmann, director of the film The Klezmer Project.
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It all started with the idea of making a documentary on klezmer music and filmmaker duo Leandro Koch and Paloma Schachmann ended up directing a film which is a love story and also a road movie on finding your roots. This is A dentro mio estoy bailando – The Klezmer project, presented in competition at the 73rd Berlinale.
The Klezmer Project: Argentinian cameraman Leandro makes a living from filming Jewish weddings. At one of his jobs, he falls in love with Paloma, the clarinetist of the Klezmer band. To seduce her he pretends to be shooting a documentary film about traditional Yiddish folk music. What Leandro does not know is that his “fake” film project will take him on an unscripted journey throughout Eastern Europe in search of the last remaining Klezmer melodies.
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Leandro Koch, Paloma Schachman – The Klezmer Project #Berlinale2023 was first posted on February 25, 2023 at 2:45 pm.
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PODCAST | Chiara Nicoletti interviews Estibaliz Urresola Solaguren, director of the film 20.000 especies de abejas.
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With her debut feature, 20,000 species of bees, basque director Estibaliz Urresola Solaguren brings to the 73rd Berlinale competition a summer tale about a eight-year-old child trying to find her own self and identity. The director talks about the genesis of the film that was inspired by the tragic story of a 14 years old trans boy who committed suicide for not being accepted as who he was. To portray a little boy transitioning to finally being the girl he is, Estibaliz Urresola Solaguren chose an actress, Sofía Otero, as to respect the gender her protagonist felt and chose to be.
20.000 especies de abejas: An eight-year-old child struggles with the fact that people keep addressing her in confusing ways. During a summer in the Basque Country among the beehives, she explores her identity alongside the women of her family, who at the same time reflect on their own lives and desires.
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Estibaliz Urresola Solaguren – 20.000 especies de abejas #Berlinale2023 was first posted on February 25, 2023 at 2:27 pm.
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PODCAST | Chiara Nicoletti interviews David Zonana, director of the film Heroico.
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David Zonana’s Heroico, screening in the Panorama section at the 73rd Berlinale unveils how violence and toxic masculinity is still systemic in nowadays Mexico through the story of a 18-year-old Luis joining the national military academy.
Heroico: Luis, an 18-year-old boy with Indigenous roots, enters the Heroic Military College in hopes of ensuring a better future. There, he encounters a rigid and institutionally violent system designed to turn him into a perfect soldier.
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David Zonana – Heroico #Berlinale2023 was first posted on February 25, 2023 at 2:19 pm.
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PODCAST | Chiara Nicoletti interviews Christian Petzold, director of the film Afire.
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After presenting the first chapter of his trilogy being about water, Undine at the Berlinale in 2020, Christian Petzold is back in the Berlinale competition with the second chapter, Afire, whose title anticipates the fire element. Afire is an enchanting but yet concrete tale on human relations and the poetics of love and it stars the director’s muse Paula Beer and Thomas Schubert.
Totem: A small holiday house by the baltic sea. The days are hot and it hasn’t rained in weeks. Four young people come together, friends old and new. As the parched forests around them begin to ignite, so do their emotions. Happiness, lust and love; but also jealousies, resentments and tensions. Meanwhile the forests burn. And before long, the flames are there.
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Christian Petzold – Afire #Berlinale2023 was first posted on February 25, 2023 at 2:02 pm.
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PODCAST | Chiara Nicoletti interviews Lila Avilés, director of the film Totem.
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In her second feature film, Totem, after the successful debut with The Chambermaid in 2018, Lila Avilés brings the “everything” of life into her story as it depicts an almost matriarcal family as it surrounds around Tona, father to 8 years old daughter Sol, who has been sick a long time and whose sisters, wife and father are organizing a birthday party for. There’s a disfunctional and lovely family that empathizes with the audience, there’s the beautiful chaos, life and death intertwining. Finally, there’s a young girl coming of age before kids her age as she understands life better than most adults.
Totem: Seven-year-old Sol spends the day at her Grandfather’s home, helping with the preparations for a surprise party for her father. Throughout the day, chaos slowly takes over, fracturing the family’s foundations. Sol will embrace the essence of letting go as a release for existence.
To discover more about the Berlin International Film Festival, click here.
Lila Avilés – Totem #Berlinale2023 was first posted on February 25, 2023 at 1:53 pm.
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PODCAST | Chiara Nicoletti interviews Franz Rogowski, actor of the film Disco boy.
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After working with Gabriele Mainetti in Freaks Out, Franz Rogowski is again the centre of another italian yet international film, the debut feature film by Giacomo Abruzzese, Disco boy, in competition at the 73rd Berlinale. The german actor talks about the film being perceived as a coming-of-age as his character, Aleksei , a young Belarusian joining the French Foreign Legion, is in search for his place in the world.
Disco boy: Aleksei is a young Belarusian on the run from a past he must bury. Entering into a kind of Faustian pact, he becomes a member of the French Foreign Legion in exchange for the promise of French citizenship. Far away in the Niger Delta, Jomo is a revolutionary activist engaged in an armed struggle to defend his community. Aleksei is a soldier, Jomo a guerrilla fighter. As a result of one more senseless war, their destinies will intertwine. What is “otherness” and how do you absorb it into who you are as you go through life, cross borders and find yourself inhabiting an ever-changing physical and mental space? Giacomo Abbruzzese exhibits a remarkable sense of out-of-the-box thinking and inventiveness as he explores such questions in a visually striking work that is ripe with poetry and tension. Bodies fall into trances that are both revelatory and altruistic because they represent an opportunity to commune with others. Accompanying this magical reverie is a powerful score from electronic musician Vitalic that helps turn the night club into a place of transcendence. The disco becomes the ultimate destination for those who keep their sights firmly set on the sacred horizon of utopia.
To discover more about the Berlin International Film Festival, click here.
Franz Rogowski – Disco boy #Berlinale2023 was first posted on February 25, 2023 at 1:47 pm.
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PODCAST | Federica Scarpa interviews Sonja Heiss, director of the film When will it be again like it never was before.
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The opening film of the Generation 14Plus section, the new film by Sonja Heiss, is based on the autobiographical novel by Joachim Meyerhoff. The director tells us what convinced her to make this adaptation, how she decided to develop other characters, the songs chosen and the work done on the casting.
When will it be again like it never was before: The household Josse grows up in hardly corresponds to the typical notions of family: his father is the director of a psychiatric clinic, on the premises of which their family home is located. Josse spends his childhood and adolescence with two brothers and liberal parents whose bourgeois life is threatening to break up their marriage. Again and again, Josse is plagued by fits of anger and sadness. He finds a sympathetic ear, consolation and the feeling of not being an oddball primarily among the psychiatric patients. The adaptation of Joachim Meyerhoff’s bestseller is carried by a well-known cast and tells a tragicomic tale about growing up in the 1970s. A soulful celebration of life in all its absurdity and transience.
To discover more about the Berlin International Film Festival, click here.
Sonja Heiss – When will it be again like it never was before #Berlinale2023 was first posted on February 25, 2023 at 1:24 pm.
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PODCAST | Federica Scarpa interviews Makoto Shinkai, director of the animated film Suzume.
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In competition at the 73rd edition of the Berlinale, Suzume, the new film by Mikado Shinkai, which is already a blockbuster in Japan. We spoke to the director about the development of this story, born just before the pandemic, but who then rediscovered a deep connection with the feelings that emerged during the lockdown. Shinkai then revealed what was hidden behind the missing chair leg from his film.
Suzume: In a small, peaceful town on Japan’s southern island of Kyushu, 17-year-old Suzume has lived with her aunt ever since she lost her mother as a little girl. One day on her way to school, she meets a mysterious young man named Souta who is in search of a door. She follows him into the mountains and finds a dilapidated old door standing alone among ruins. On an impulse, Suzume turns the handle, and at once sets free all the calamities the portal was meant to contain. All around Japan other doors open, threatening a population unaware of the looming danger. Together, Suzume and Souta set out on a journey to close them all again. Written and directed by anime auteur Makoto Shinkai, this epic adventure takes us across the length and breadth of Japan, venturing outside metropolitan hubs to seek doors of disaster in the abandoned infrastructures of depopulated rural areas. As we follow this young woman in her frantic search, we realise that she is also engaged in a personal quest for maturity and freedom. An intimate portrait that is also a study of a vulnerable yet combative nation, Suzume is a sign of resilience at a time when Mother Earth is sending humankind evidence of her fury.
To discover more about the Berlin International Film Festival, click here.
Makoto Shinkai – Suzume #Berlinale2023 was first posted on February 25, 2023 at 1:13 pm.
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PODCAST | Federica Scarpa interviews Jub Clerc, director of the film Sweet as.
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In the Generation KPlus section of the 73. Berlinale Film Festival there’s a film with a big heart set in the breathtaking landscapes of Australia. We talked with the director of Sweet As, Jub Clerc, about her memories of a journey she took as a girl, similar to that of the protagonist, of the importance of delicately recounting the realities of disadvantaged children, and of the challenges she faced in making her first film.
Sweet as: Everyone and everything is a story, but what about finding the right words? This is something that fifteen-year-old Murra discovers while travelling on a photo-excursion for disadvantaged youth through the ancient natural landscapes of her Aboriginal homeland. In the course of one eventful week of wild camping and wandering through historic Indigenous sites, Murra reconnects with her ancestral roots, makes friends for life, experiences the disappointments of heartbreak but discovers also her love for photography. As the camera and the images she creates calibrate her with a fresh point of view to the world, Murra sees new possibilities for her future. Sweet As celebrates resilience, growth, hope and love and the importance of finding one’s very own voice in the process.
To discover more about the Berlin International Film Festival, click here.
Jub Clerc – Sweet as #Berlinale2023 was first posted on February 25, 2023 at 12:39 pm.
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PODCAST | Federica Scarpa interviews Jow Zhi Wei, director of the film Tomorrow is a long time.
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Tomorrow is a long time, the first feature film by Jow Zhi Wei, in Generation 14plus at the 73. Berlinale Film Festival it’s a touching film about the relationship and the incommunicability between a father and his son. We talked with the director, who revealed where this story’s inspiration comes from, why he decided to “divide” the film into two parts, and how it makes him feel to be at the Berlinale.
Tomorrow is a long time: Acts of violence bring regret and repercussions for widowed pest exterminator Chua and his son Meng. But control over their lives is not a familiar feeling for either of them. The dense cityscape of Singapore hems them in their precarious existence, offering little tenderness or space to breathe freely. His father’s long shifts of gruelling work for a thankless employer coupled with his grandmother’s advancing illness have left Meng isolated, and susceptible to being pressured into joining ranks with a group of bullies from school. Compulsory military service looms near. The unknown world of the jungle holds its own threats, but also the possibility of bringing Meng closer to understanding his own nature, and connecting with something bigger.
To discover more about the Berlin International Film Festival, click here.
Jow Zhi Wei – Tomorrow is a long time #Berlinale2023 was first posted on February 25, 2023 at 12:28 pm.
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PODCAST | Angelo Acerbi interviews Amr Garal, director of the film The Burdened.
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Amr Garal the director of The Burdened, in the Panorama section of the Berlinale73, talks about the difficulties of shooting the fim in contemporary Yemen and the unfortunate common situation which amny families find themselves in as told by his film. The civil war has erased all culture and films and theatre and now little by little people like Amr try to re-start.
The Burdened: Isra’a lives with her husband Ahmed and their three children in the old port city of Aden in southern Yemen. Their everyday lives are shaped by the civil war – which means military checks in the streets, frequent power cuts, and having to haul water from the street to the kitchen. Ahmed used to work for television, but after several salary cheques were not paid, he is now earning his money as a driver. When Isra’a unexpectedly becomes pregnant, the couple faces a crisis. They both know they cannot afford a fourth child: they are about to move to a cheaper flat and the children’s school fees are due. Together they decide on an abortion. An odyssey begins in which a doctor friend becomes a key figure. A feature film from Yemen is a great rarity. Here, director Amr Gamal has chosen to fictionalise a real-life story that occurred within his circle of friends. Set against the backdrop of one of the world’s most devastating civil wars, this sensitive family drama provides us with a glimpse into the society of a country largely unknown beyond its borders.
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Amr Garal – The Burdened #Berlinale2023 was first posted on February 25, 2023 at 12:19 pm.
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PODCAST | Chiara Nicoletti interviews Zhang Lu, director of the film The Shadowless Tower.
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For The Shadowless Tower, his latest film in competition at the 73rd Berlinale, Zhang Lu goes back to his city in Bejing, under the shadow of the White Pagoda that always remains the same, to narrate the life of a middle aged food critic in the middle of a life crisis. The director tells us how the film is at the same time about a love story, father son story and a journey through a moment in life in which one feels directionless.
The Shadowless Tower: Gu Wentong, a middle-aged food critic, is drifting through the local eateries of vibrant Beijing with his younger photographer colleague Oyang. A divorcé with a 6-year-old daughter and estranged from his father for decades, he is looking for a new perspective on life while reconsidering his failings as a father, a son, and a lover. While the seasons come and go, people get together and move apart. Only one thing will remain the same: The White Pagoda where they all meet sooner or later..
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Zhang Lu – The shadowless Tower #Berlinale2023 was first posted on February 25, 2023 at 11:24 am.
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When facing the pain of loss opens you up to a great adventure.Domien Huyghe, Wendy Huyghe – Sea Sparkle #Berlinale2023 was first posted on February 25, 2023 at 11:11 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Protagonists of Angela Schanelec's Music talk about the wise freedom the director gave them in this Oedipus myth transposition to the big screen.Aliocha Schneider, Agathe Bonitzer – Music #Berlinale2023 was first posted on February 25, 2023 at 11:00 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
PODCAST | Federica Scarpa interviews Tatiana Huezo, director of the film The Echo.
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In the Encounters section of the 73rd Berlinale Film Festival, the new film by Tatiana Huezo, The Echo. The director tells us through the eyes of the children who live in a small village in Northern Mexico, a hidden and unknown world to most, but in which great universal truths can be seen again. Tatiana tells us why she decided to tell this story, what she discovered while shooting at El Eco, and what her intentions were.
The Echo: A young mother runs across a mountain meadow with her children and they save a sheep from drowning. A girl cares for her elderly grandmother so tenderly that you want to cry while another practices being a teacher with just the right tone of voice, her dolls lined up before her as willing pupils. The fathers are mostly absent: as construction workers or tradesmen, they rarely share their daily lives with their families. In El Eco, a remote village in northern Mexico, life consists of the most elementary things. Being a child here is an intense experience from day one, involving nature, animals and people. But also love, intimacy, illness and death. And education – at least for the younger generation.
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Tatiana Huezo – The Echo #Berlinale2023 was first posted on February 22, 2023 at 6:41 pm.
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PODCAST | Chiara Nicoletti interviews Tibor Bánóczki and Sarolta Szabó, directors of the film White Plastic Sky.
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With their first feature animation film, White Plastic Sky, at the 73rd Berlinale in the Encounters section, Hungarian filmmaker duo Sarolta Szabó and Tibor Bánóczki talk about a dystopian future where the human race is trying to survive. As our world has changed during the years the duo worked on the film project, the directors talk about how close to our Poly-Crisis reality the film feels.
White Plastic Sky: 2123. Faced with diminishing resources, the human race can only survive through a trade-off: at the age of 50, every citizen is gradually turned into a tree. When Stefan discovers that his beloved wife Nora has voluntarily signed up for donating her own body before her time, he sets out on an adventurous journey to save her at all costs.
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Tibor Bánóczki, Sarolta Szabó – White Plastic Sky #Berlinale2023 was first posted on February 19, 2023 at 2:02 pm.
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PODCAST | Chiara Nicoletti interviews Dennis Ruh, director of the European Film Market.
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Dennis Ruh, Director of the EFM since the end of 2020, is looking forward to his first EFM in person after 2 years of online editions due to pandemic restrictions. The historical market location Martin Gropius Bau is ready to host more than 11,500 participants, more or less the same amount of the pre-pandemic editions and the EFM team has worked hard to concentrate all the market activities such as market screenings, conferences and panels in the Potsdamer Platz area so that all industry professionals can make the most out of their time in Berlin.
The European Film Market is one of the top three meeting places of the international film and media industries. Its close links with the Berlinale as a public film festival, and its position at the heart of Berlin’s vivid creative economy, are defining characteristics of the Berlinale’s film market. Yet the EFM is more than just an agile marketplace for trading film and audiovisual content – it has also positioned itself as a platform for innovation and change. Over a period of eight days, around 10,000 representatives of the international film and media industries – primarily producers, buyers and sales agents, distributors and financiers – come together to network, exchange, inform themselves and do business. As the first major film market of the year, the EFM is in a strong position and serves as a compass, barometer and pacesetter for the new film year: new productions and developments, future-proof business models, contacts and contracts – it all starts here. The EFM’s varied locations range from the beautiful Gropius Bau to elegant Marriott Hotel, modern Berliner Freiheit or the historic Zoo Palast. A professional infrastructure for exhibitors, state-of-the-art cinemas, numerous market premieres and outstanding service via close customer and partner relationships distinguish the film market as a first class trading platform. The EFM serves the diversity and breadth of requirements for its different participant groups, focusing on networking, exchange, information and the constant integration of new players.
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Dennis Ruh – European Film Market #Berlinale2023 was first posted on February 15, 2023 at 6:59 pm.
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PODCAST | Chiara Nicoletti interviews Carlo Chatrian, the artistic director of the Berlin International Film Festival.
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As on his blog on the Berlinale website, Artistic Director Carlo Chatrian wrote: “A festival programme is, even more than just a (hopefully coherent) line-up of films, the result of a year’s worth of work, of meetings, of travel, of frequently unexpected and instantaneous viewings”, in this interview he tells us what we should look forward to, in this edition. Chatrian talks about gender equality, inclusion and representation in this year’s program and also how Berlinale keeps being a festival that is very connected to what happens in the world, especially in terms of politics and social problems. The Artistic Director finally confirms that he is looking forward to an edition that will be the first after 2020 where we can all go back to enjoying the festival experience at its fullest, with no restrictions.
Berlinale is a unique place of artistic exploration and entertainment. It is one of the largest public film festivals in the world, attracting tens of thousands of visitors from around the globe each year. For the film industry and the media, the eleven days in February are also one of the most important events in the annual calendar and an indispensable trading forum. The Berlin International Film Festival enjoys an eventful history. The festival was created for the Berlin public in 1951, at the beginning of the Cold War, as a “showcase of the free world”. Shaped by the turbulent post-war period and the unique situation of a divided city, the Berlinale has developed into a place of intercultural exchange and a platform for the critical cinematic exploration of social issues. To this day it is considered the most political of all the major film festivals. The Berlinale brings the big stars of international cinema to Berlin and discovers new talents. It accompanies filmmakers of all disciplines on their paths into the spotlight and supports careers, projects, dreams and visions. Thanks to its numerous industry initiatives, the Berlinale is a significant driver of innovation and an important economic factor internationally as well as for companies in Germany and Berlin.
To discover more about the 73° edition of Berlin International Film Festival, click here.
Carlo Chatrian #Berlinale2023 was first posted on February 13, 2023 at 3:33 pm.
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With his magnetic and disquieting look at the world in Knock at the cabin, Shyamalan proves us, through an apocalypse, that human beings are all connected, whether we like it or not.M. Night Shyamalan – Knock at the cabin was first posted on January 31, 2023 at 8:32 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Award winning screenwriter Elma Tataragić talks about her masterclass at the 34th Trieste Film FestivalElma Tataragić – Masterclass "The passion and the responsibility of storytelling" #TSSFF34 was first posted on January 28, 2023 at 3:29 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The birth of the Non-Aligned Movement, through the camera of the cameraman of Yugoslav president Tito, Stevan Labudović.Mila Turajlić – Non-Aligned: Scenes from the Labudović Reels #TSSFF34 was first posted on January 28, 2023 at 3:18 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The horror of war and a dream that takes you home to tell about it.Nadia Parfan – I did not want to make a war film #TSSFF34 was first posted on January 28, 2023 at 3:04 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The incredible story of Aurora Mardiganian, a survivor of the Armenian genocide, and the star of a long-lost Hollywood film.Inna Sahakyan – Aurora's sunrise #TSSFF34 was first posted on January 28, 2023 at 2:50 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
After winning three awards in the Locarno's Cineasti del Presente competition this summer, Juraj Lerotić lands in competition at the 34th Trieste Film festival with his autobiographical debut film "Safe Place".Juraj Lerotić – Safe place – Sigurno mjesto #TSFF34 was first posted on January 27, 2023 at 8:02 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
WICIP, the first project for the international promotion of Italian cinema written, produced and directed by women. It includes the presentation of five films that are also available in versions accessible to the deaf and to the blind.The WICIP Podcast – Women equality in the film industry: different perspectives from different filmmakers was first posted on January 21, 2023 at 1:15 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
"Loving cinema in all its aspects, even the its dark side". Damien Chazelle declares his love for cinema, even when it's a Babylon.Damien Chazelle – Babylon was first posted on January 20, 2023 at 8:07 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The European cinema I'm proud to be part of: Lukas Dhont presents Close to the italian audience and talks about being proudly part of European directors.Lukas Dhont – Close was first posted on January 9, 2023 at 8:04 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A first feature film which is, at the same time, an enchanting and nostalgic look at a father-daughter relationship and a delicate coming-of-age. Charlotte Wells – Aftersun #AliceNellaCittà was first posted on January 9, 2023 at 7:45 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The president of one of the youngest italian film commission tells us all about its activities.Simone Gandolfo #Focus2022 was first posted on December 21, 2022 at 7:55 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
An update on the various activities and actions of the Sardinia Film Commission, from Focus London.Nevina Satta #Focus2022 was first posted on December 21, 2022 at 7:49 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A look at the film financing form the inside of the Directorate general of Cinema.Rossella Gaudio #Focus2022 was first posted on December 20, 2022 at 4:56 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
What Genova Liguria Film Commission can do for film and tv productions explained here.Roberto Lo Crasto #Focus2022 was first posted on December 20, 2022 at 4:38 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Luca Ferrario talks with Fred Radio about both his roles and his missions.Luca Ferrario #Focus2022 was first posted on December 20, 2022 at 4:23 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The head of the London office of Italian Trade Agency at Fred Radio from Focus London 2022.Giovanni Sacchi #Focus2022 was first posted on December 20, 2022 at 4:12 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Veneteo Film Commission's first time at Focus London in the words of Francesca Valente, general secretary.Francesca Valente #Focus2022 was first posted on December 20, 2022 at 3:58 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Cristina Priarone at Focus London 2022 talks about the state of the art of the two institutions she presides.Cristina Priarone #Focus2022 was first posted on December 20, 2022 at 3:50 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Bruno Cristaldi is one of the producers of the italian delegation at Focus London 2022.Bruno Cristaldi #Focus2022 was first posted on December 19, 2022 at 8:18 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A bizarre and touching tale of optimism and resilience, in the cold and snowy Finland. Mikko Myllylahti – The Woodcutter Story #TFF40 was first posted on December 16, 2022 at 8:02 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A year into her mandate, Beatrice Borgia talks about her role at the Film Commission Torino Piemonte and the results achieved so far.Beatrice Borgia – Film Commission Torino Piemonte #TFF40 was first posted on December 13, 2022 at 8:07 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Kristina is not jus a portrait of a trans woman, but of a person who deals with the world, as Nikola Spasic tells us. Nikola Spasic – Kristina #TFF40 was first posted on December 10, 2022 at 9:49 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The hyper-creative Albert Serra and his monumental social thriller, shot in Tahiti with an astounding Benoit Magimel.Albert Serra – Pacifiction #TFF40 was first posted on December 10, 2022 at 9:23 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A chat with an iconic actor about his beginnings and the masterpieces of his career.Malcolm Mc Dowell – Stella della Mole Award #TFF40 was first posted on December 1, 2022 at 8:54 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A debut film, a nostalgic and melancholic look on how difficult it is to process grief and accept the loss of someone dear.Takeshi Kogahara – Nagisa #TFF40 was first posted on December 1, 2022 at 8:36 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A gentle tale about anarchy.Cyril Schäublin – Unrest #TFF40 was first posted on November 28, 2022 at 9:02 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
From Academy Award director Don Hall, an ecologist fairytale about a three generations of men meeting halfway.Don Hall, Qui Nguyen, Roy Conli – Strange World was first posted on November 25, 2022 at 7:34 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The resilience of Ukrainian cinema and one of its most important festivals, through the words of Andriy Khalpakhchi.Andriy Khalpakhchi – Molodist International Film Festival #fce2022 was first posted on November 22, 2022 at 7:42 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A reflection on the care and taking charge of the body by the medical institution, which leads to a reflection on social reproduction as a theme of our community.Verena Paravel – The Fabric of the Human Body #FdP63 was first posted on November 16, 2022 at 8:13 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
One of the filmmakers most committed to telling the impact of the human race on the environment.Jennifer Baichwal – Into The Weeds #FdP63 was first posted on November 16, 2022 at 7:57 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Combining modern day footage with 3D animations inspired by Daxiong's art, the film traces the event to its 20th anniversary and brings to life an unprecedented story of challenge. Jason Loftus – Eternal Spring #FdP63 was first posted on November 16, 2022 at 11:47 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The Cathedral is the portrait of an obsession, of a life entirely consecrated to the creation of a work that confronts us with the contradictions of the "success" of a work born of a deeply personal vocation.Denis Dobrovoda – The Cathedral #FdP63 was first posted on November 16, 2022 at 7:52 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
In the interview with Alice Lucy, leading actress of Mad Heidi at Trieste Science and Fiction Film Festival we talked about the idea behind the movie and her challenges during the shooting.Alice Lucy – Mad Heidi #tsplusf was first posted on November 12, 2022 at 8:03 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
After the collapse of Earth's ecosystem, Vesper, a 13-year-old girl struggling to survive with her paralyzed father, meets a woman with a secret who will force her to use her wits, strengths and bio-hacking abilities to fight for the possibility of having a future.Bruno Samper, Kristina Buozyte – Vesper #tsplusf was first posted on November 8, 2022 at 5:01 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
What to do if the water rationing you are entitled to is too little?Saara Saarela – Memory of Water #tsplusf was first posted on November 8, 2022 at 4:44 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A mother fights to save the life of her ailing daughter after an unprecedented pandemic ravaged the planet, leaving resources so scarce you must pay for them with your life.Orsi Nagypal – The Deal #tsplusf was first posted on November 8, 2022 at 4:22 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
We talk with Neil Marshall about his last horror flick, at the Trieste Science + Fiction Festival, where he is also head of the Jury.Neil Marshall – The Lair #tsplusf was first posted on November 8, 2022 at 3:56 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
An epic period fantasy series with a modern sensibility set in an enchanted land of breathtaking beauty.Erin Kellyman, Ellie Bamber, Amar Chadha-Patel – Willow #LuccaCG23 was first posted on November 7, 2022 at 7:42 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
From the book by Charles Graeber, Eddie Redmayne plays Charles Cullen, the serial killer nurse who managed to kill so many people thanks to his compassionate ways and his ability to become invisible Tobias Lindholm, Eddie Redmayne – The Good Nurse #ZFF2022 was first posted on November 6, 2022 at 2:03 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
It's classic D&D: a band of unlikely companions comes together, then sets off across a fantastical landscape to achieve a goal and defeat a bad guy.Jonathan Goldstein, Francis Daley, Jeremy Latcham – Dungeons & Dragons #LuccaCG23 was first posted on November 6, 2022 at 1:47 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The rousing spy thriller will explore tales filled with espionage and daring missions to restore hope to a galaxy in the grip of a ruthless Empire.Denise Gough – Andor #LuccaCG23 was first posted on November 6, 2022 at 11:34 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Loving and crashing all the adorable Rom Coms cliches: Bros is in Italian Cinemas.Nicholas Stoller, Billy Eichner, Luke MacFarlane – Bros #RoFF17 was first posted on November 2, 2022 at 6:04 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The responsability of playing the right villain for an origin story. David David Morissey – Dampyr was first posted on November 2, 2022 at 5:36 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Being part of the Bonelli Cinematic Universe and its beginning.Stuart Martin, Luke Roberts – Dampyr was first posted on November 2, 2022 at 5:24 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
From the 1965's best selling Book Series by Bernard Waber to the big screen:Lyle the Crocodile is finally in cinemas.Josh Gordon – Lyle, Lyle Crocodile #AliceNellaCittà was first posted on October 25, 2022 at 5:19 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Imagine to be trapped in an Hotel because Covid is spreading everywhere.Wang Xiaoshuai – The Hotel #RoFF17 was first posted on October 25, 2022 at 4:40 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Stephen Frears brings to the big screen the true story of an amateur historian, Philippa Langley, who in 2012 discovered the remains of King Richard III a carpark in Leicester.Stephen Frears – The Lost King #RoFF17 was first posted on October 23, 2022 at 11:10 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
How James Morosini Turned Being Catfished by His Father Into New Film I Love My Dad.James Morosini – I Love My Dad #RoFF17 was first posted on October 21, 2022 at 10:31 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A remake of a film in a film: The cinema lesson by Michel Hazanavicius.Michel Hazanavicius, Bérénice Bejo – Cut! – Coupez! #RoFF17 was first posted on October 21, 2022 at 10:06 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The story of a dominatrix and her rich client.Zachary Wigon – Sanctuary #RoFF17 was first posted on October 21, 2022 at 9:45 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
This year marks the tenth anniversary of the British Film Festival that returns in October with a formidable line-up celebrating the talents of Britain’s finest filmmakers and actors.Kim Petalas – Festival Director #Britishfilmfestival was first posted on October 13, 2022 at 3:31 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Ke Huy Quan's comeback in the movie business is an explosive and spectacular film.Ke Huy Quan, Jonathan Wang – Everything, Everywhere, All at once was first posted on October 6, 2022 at 1:40 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Ode to a family. Luis De Filippis – Something you said last night #ZFF2022 was first posted on October 4, 2022 at 10:25 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
After presenting it at the Festival de Cannes, out of competition, Ari Folman is in Italy to present Where is Anna Frank.Ari Folman – Where is Anna Frank was first posted on September 29, 2022 at 9:09 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
After presenting it at the Festival de Cannes, out of competition, Ari Folman is in Italy to present Where is Anna Frank.
Ari Folman – Where is Anna Frank was first posted on September 29, 2022 at 9:09 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Dhont: "My film is an homage to friendship".
Lukas Dhont – Close #ZFF2022 was first posted on September 28, 2022 at 8:05 am.
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Dhont: "My film is an homage to friendship".Lukas Dhont – Close #ZFF2022 was first posted on September 28, 2022 at 8:05 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Edward Berger directs the first German film adaptation of Erich Maria Remarque's pacifist world bestseller.Edward Berger – Im Westen nichts Neues / All Quiet on the Western Front #ZFF2022 was first posted on September 27, 2022 at 11:16 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Edward Berger directs the first German film adaptation of Erich Maria Remarque's pacifist world bestseller.
Edward Berger – Im Westen nichts Neues / All Quiet on the Western Front #ZFF2022 was first posted on September 27, 2022 at 11:16 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Daniel Brühl on how to depict war on screen nowadays.
Daniel Brühl – Im Westen nichts Neues / All Quiet on the Western Front #ZFF2022 was first posted on September 27, 2022 at 11:07 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Daniel Brühl on how to depict war on screen nowadays.Daniel Brühl – Im Westen nichts Neues / All Quiet on the Western Front #ZFF2022 was first posted on September 27, 2022 at 11:07 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Entering the world of David Bowie.
Brett Morgen, Paul Massey – Moonage Daydream was first posted on September 27, 2022 at 10:49 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Entering the world of David Bowie.Brett Morgen, Paul Massey – Moonage Daydream was first posted on September 27, 2022 at 10:49 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The Italian Film Festival features a selection of films from the New Neapolitan Cinema movement, curated and presented by the Italian Cultural Institute in Melbourne, bringing to the Australian audience the rich Neapolitan film heritage of the last 30 years.Angelo Gioe' #ItalianFilmFestival was first posted on September 27, 2022 at 9:32 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The Italian Film Festival features a selection of films from the New Neapolitan Cinema movement, curated and presented by the Italian Cultural Institute in Melbourne, bringing to the Australian audience the rich Neapolitan film heritage of the last 30 years.
Angelo Gioe’ #ItalianFilmFestival was first posted on September 27, 2022 at 9:32 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
This edition features a stunning selection of contemporary Italian cinema, a nod to Pier Paolo Pasolini on the centenary of his birth, and a spotlight on Naples, featuring Mario Martone’s Nostalgia selected at the Cannes Film Festival.
Elysia Zeccola – Festival Director #ItalianFilmFestival was first posted on September 20, 2022 at 9:43 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Leo Ferrari and Leonardo Venturi, actors of the WeDo project.Leo Ferrari, Leonardo Venturi – WeDo #Venezia79 was first posted on September 18, 2022 at 3:59 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Leo Ferrari and Leonardo Venturi, actors of the WeDo project.
Leo Ferrari, Leonardo Venturi – WeDo #Venezia79 was first posted on September 18, 2022 at 3:59 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A documentary on Ukraine's invasion by Russia, told by its anonymous protagonists.
Evgeny Afineevsky, Nataliia Nagorna, Hanna Zaitseva – Freedom on fire: Ukraine’s fight for freedom #Venezia79 was first posted on September 17, 2022 at 4:55 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A documentary on Ukraine's invasion by Russia, told by its anonymous protagonists.Evgeny Afineevsky, Nataliia Nagorna, Hanna Zaitseva – Freedom on fire: Ukraine's fight for freedom #Venezia79 was first posted on September 17, 2022 at 4:55 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Steve Buscemi's 6th film as director is about a woman whose superpower is "Listening".
Steve Buscemi – The listener #Venezia79 was first posted on September 17, 2022 at 3:14 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Steve Buscemi's 6th film as director is about a woman whose superpower is "Listening".Steve Buscemi – The listener #Venezia79 was first posted on September 17, 2022 at 3:14 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Casey Affleck and Zoey Deschanel play Donnie Emerson and his wife Nancy in Dreamin' Wild, the real story of the singer/songwriter' second chance at music, success and life. Zoey Deschanel, Casey Affleck – Dreamin' wild #Venezia79 was first posted on September 17, 2022 at 3:04 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Casey Affleck and Zoey Deschanel play Donnie Emerson and his wife Nancy in Dreamin' Wild, the real story of the singer/songwriter' second chance at music, success and life.
Zoey Deschanel, Casey Affleck – Dreamin’ wild #Venezia79 was first posted on September 17, 2022 at 3:04 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
"Are you the man that you say you are?". From this quote in the film, Harry Styles and Chris Pine talk about the men characters in the film that are victims of society rules and cultural pressure.
Chris Pine, Harry Styles – Don’t worry darling #Venezia79 was first posted on September 17, 2022 at 11:45 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
"Are you the man that you say you are?". From this quote in the film, Harry Styles and Chris Pine talk about the men characters in the film that are victims of society rules and cultural pressure.Chris Pine, Harry Styles – Don't worry darling #Venezia79 was first posted on September 17, 2022 at 11:45 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Gemma Chan in Don't worry darling portrays evil through her silences and looks.
Gemma Chan – Don’t worry darling #Venezia79 was first posted on September 17, 2022 at 11:35 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Gemma Chan in Don't worry darling portrays evil through her silences and looks.Gemma Chan – Don't worry darling #Venezia79 was first posted on September 17, 2022 at 11:35 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The ITTV Forum & Festival in Los Angeles from the words of its founder Valentina Martelli.
Valentina Martelli #Venezia79 was first posted on September 17, 2022 at 9:44 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The ITTV Forum & Festival in Los Angeles from the words of its founder Valentina Martelli.Valentina Martelli #Venezia79 was first posted on September 17, 2022 at 9:44 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
At the Women In Cinema Award Sinem Sakaoglu representing Cigdem mater, awarded this year but in jail in Turkey.
Sinem Sakaoglu – Women in Cinema Award #Venezia79 was first posted on September 17, 2022 at 8:46 am.
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At the Women In Cinema Award Sinem Sakaoglu representing Cigdem mater, awarded this year but in jail in Turkey. Sinem Sakaoglu – Women in Cinema Award #Venezia79 was first posted on September 17, 2022 at 8:46 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The outcomes of the 2022 edition of Final Cut In Venice.Alessandra Speciale #Venezia79 was first posted on September 16, 2022 at 2:41 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The outcomes of the 2022 edition of Final Cut In Venice.
Alessandra Speciale #Venezia79 was first posted on September 16, 2022 at 2:41 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A mother and a teenage son moving from city to city to find a place to fit in. Fyzal Boulifa – The damned don't cry #Giornate2022 was first posted on September 16, 2022 at 9:38 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A mother and a teenage son moving from city to city to find a place to fit in.
Fyzal Boulifa – The damned don’t cry #Giornate2022 was first posted on September 16, 2022 at 9:38 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
One example of the new horizons of immersove Vr cinema, an adapation from Pin Yathay best seller by the same title.
Victoria Bousis – Tu Vivra Mon Fils #Venezia79 was first posted on September 16, 2022 at 9:12 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
One example of the new horizons of immersove Vr cinema, an adapation from Pin Yathay best seller by the same title. Victoria Bousis – Tu Vivra Mon Fils #Venezia79 was first posted on September 16, 2022 at 9:12 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
One of the most intriguing plots of the year, in a film taht makes the incredible real and tangible.
Hanna Västinsalo, Cyril Jacob Abraham – Palympsest #Venezia79 was first posted on September 16, 2022 at 8:55 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
One of the most intriguing plots of the year, in a film taht makes the incredible real and tangible.Hanna Västinsalo, Cyril Jacob Abraham – Palympsest #Venezia79 was first posted on September 16, 2022 at 8:55 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
One of the four projects of Biennale College, from Kazakhstan, told by its director.Eldar Shibanov – Mountain Onion #Venezia79 was first posted on September 16, 2022 at 8:45 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
One of the four projects of Biennale College, from Kazakhstan, told by its director.
Eldar Shibanov – Mountain Onion #Venezia79 was first posted on September 16, 2022 at 8:45 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A gripping film about patriarchy, power, war and female self-determination.
Tahmina Rafaella, Katayoon Shahabi – Banu #Venezia79 was first posted on September 15, 2022 at 8:11 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A gripping film about patriarchy, power, war and female self-determination.Tahmina Rafaella, Katayoon Shahabi – Banu #Venezia79 was first posted on September 15, 2022 at 8:11 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A tale of fatherhood and belonging in Indonesia, a meditation on morality and duty.
Makbul Mubarak – Autobiography #Venezia79 was first posted on September 15, 2022 at 8:19 am.
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A tale of fatherhood and belonging in Indonesia, a meditation on morality and duty.Makbul Mubarak – Autobiography #Venezia79 was first posted on September 15, 2022 at 8:19 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The stylish and nice N.W.Refn with his lead actresses talk about his second trip into the series.Nicolas Winding Refn, Angela Bundalovic, Lola Corfixen – Copenhagen Cowboy #Venezia79 was first posted on September 15, 2022 at 8:11 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The stylish and nice N.W.Refn with his lead actresses talk about his second trip into the series.
Nicolas Winding Refn, Angela Bundalovic, Lola Corfixen – Copenhagen Cowboy #Venezia79 was first posted on September 15, 2022 at 8:11 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
One of the most acclaimed composers of our times talk on hie experience as a guide in the making of Music for black pigeons.
Jakob Bro – Music for black pigeons #Venezia79 was first posted on September 14, 2022 at 11:32 am.
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One of the most acclaimed composers of our times talk on hie experience as a guide in the making of Music for black pigeons.Jakob Bro – Music for black pigeons #Venezia79 was first posted on September 14, 2022 at 11:32 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
An essential and unmissable trip through the volution of modern jazz with the voices of the major players on the planet.
Jorgen Leth, Andreas Koefoes – Music for black pigeons #Venezia79 was first posted on September 14, 2022 at 11:20 am.
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An essential and unmissable trip through the volution of modern jazz with the voices of the major players on the planet.Jorgen Leth, Andreas Koefoes – Music for black pigeons #Venezia79 was first posted on September 14, 2022 at 11:20 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Following the hit X, Ti West and Mia Gith talk about the prequel and the new directions of their filmaking.Ti West, Mia Goth – Pearl #Venezia79 was first posted on September 14, 2022 at 11:09 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Following the hit X, Ti West and Mia Gith talk about the prequel and the new directions of their filmaking.
Ti West, Mia Goth – Pearl #Venezia79 was first posted on September 14, 2022 at 11:09 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Rachel Broisahan and Christoph Waltz talk about their roles in Dead for a dollar by Walter Hill..Rachel Brosnahan, Christoph Waltz – Dead for a dollar #Venezia79 was first posted on September 14, 2022 at 10:42 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Rachel Broisahan and Christoph Waltz talk about their roles in Dead for a dollar by Walter Hill..
Rachel Brosnahan, Christoph Waltz – Dead for a dollar #Venezia79 was first posted on September 14, 2022 at 10:42 am.
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Willem Dafoe and Bemjamin Bratt together to talk about their roles in Dead for a dollar, the new western by Walter Hill.
Willem Dafoe, Benjamin Bratt – Dead for a dollar #Venezia79 was first posted on September 14, 2022 at 10:34 am.
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Willem Dafoe and Bemjamin Bratt together to talk about their roles in Dead for a dollar, the new western by Walter Hill.Willem Dafoe, Benjamin Bratt – Dead for a dollar #Venezia79 was first posted on September 14, 2022 at 10:34 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A chat with the great Walter Hill, on his comeback to western film Dead for a dollar.
Walter Hill – Dead for a dollar #Venezia79 was first posted on September 14, 2022 at 10:29 am.
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A chat with the great Walter Hill, on his comeback to western film Dead for a dollar.Walter Hill – Dead for a dollar #Venezia79 was first posted on September 14, 2022 at 10:29 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A monologue on love and relationships, the words of Tolstoj's wife are so modern and contemporary it almost hurts.Frederick Wiseman – Un couple #Venezia79 was first posted on September 14, 2022 at 9:21 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A monologue on love and relationships, the words of Tolstoj's wife are so modern and contemporary it almost hurts.
Frederick Wiseman – Un couple #Venezia79 was first posted on September 14, 2022 at 9:21 am.
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The three key characters, next to Cate Blanchett, in Tar by Todd Fields reveal themselves.Nina Hoss, Noémie Merlant, Sophie Kauer – Tár #Venezia79 was first posted on September 14, 2022 at 7:59 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The three key characters, next to Cate Blanchett, in Tar by Todd Fields reveal themselves.
Nina Hoss, Noémie Merlant, Sophie Kauer – Tár #Venezia79 was first posted on September 14, 2022 at 7:59 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A road movie , a run thorugh Morocco of three women, a cry for freedom and self-determination.
Yasmine Benkiran – Queens #SIC37 was first posted on September 13, 2022 at 5:13 pm.
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A road movie , a run thorugh Morocco of three women, a cry for freedom and self-determination.Yasmine Benkiran – Queens #SIC37 was first posted on September 13, 2022 at 5:13 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A short documentary on the personal and profesisonal lòfe of a fashion icon, Miss Fame, on and off the catwalk. Miss Fame, Gianluca Matarrese, Guillame Thomas – Pinned into a dress #SIC37 was first posted on September 13, 2022 at 5:02 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A short documentary on the personal and profesisonal lòfe of a fashion icon, Miss Fame, on and off the catwalk.
Miss Fame, Gianluca Matarrese, Guillame Thomas – Pinned into a dress #SIC37 was first posted on September 13, 2022 at 5:02 pm.
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An honest and delightful story of acceptance and recognition, where genders mix without drama. Insightful.Florent Gouelou, Pablo Pauly, Romain Eck – Three nights a week #SIC37 was first posted on September 13, 2022 at 4:49 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
An honest and delightful story of acceptance and recognition, where genders mix without drama. Insightful.
Florent Gouelou, Pablo Pauly, Romain Eck – Three nights a week #SIC37 was first posted on September 13, 2022 at 4:49 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A documentary by Oliver Stone that tries to convince the audience about the necessity to boost nuclear energy.
Oliver Stone, Joshua Goldstein, Fernando Sulichin – Nuclear #Venezia79 was first posted on September 13, 2022 at 10:31 am.
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A documentary by Oliver Stone that tries to convince the audience about the necessity to boost nuclear energy.Oliver Stone, Joshua Goldstein, Fernando Sulichin – Nuclear #Venezia79 was first posted on September 13, 2022 at 10:31 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
With The Happiest man in the world, Teona Strugar Mitevska realizes a humor-driven film on war, love, religion and gender. Teona Strugar Mitevska – The happiest man in the world #Venezia79 was first posted on September 13, 2022 at 10:28 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
With The Happiest man in the world, Teona Strugar Mitevska realizes a humor-driven film on war, love, religion and gender.
Teona Strugar Mitevska – The happiest man in the world #Venezia79 was first posted on September 13, 2022 at 10:28 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Patricia Clarkosn tells us about his intense and vivid portrait of a dyng woman in Andrea poallaoro's Monica, at the Venice festival.
Patricia Clarkson – Monica #Venezia79 was first posted on September 13, 2022 at 9:47 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Patricia Clarkosn tells us about his intense and vivid portrait of a dyng woman in Andrea poallaoro's Monica, at the Venice festival.Patricia Clarkson – Monica #Venezia79 was first posted on September 13, 2022 at 9:47 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
An astonishing film, strong and simple, with a masterful performance of Brendan Fraser. A must-see.
Darren Aronofski, Brendan Fraser, Samuel D. Hunt – The whale #Venezia79 was first posted on September 13, 2022 at 9:07 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
An astonishing film, strong and simple, with a masterful performance of Brendan Fraser. A must-see.Darren Aronofski, Brendan Fraser, Samuel D. Hunt – The whale #Venezia79 was first posted on September 13, 2022 at 9:07 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Laura Dern on The son: When love is not enough.
Laura Dern, Zen McGrath – The son #Venezia79 was first posted on September 13, 2022 at 8:26 am.
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Laura Dern on The son: When love is not enough.Laura Dern, Zen McGrath – The son #Venezia79 was first posted on September 13, 2022 at 8:26 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Communicate remotely and get out of the cage with the dance.
Giorgio Ferrero – Happy Birthday #SIC37 was first posted on September 12, 2022 at 4:43 pm.
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Communicate remotely and get out of the cage with the dance.Giorgio Ferrero – Happy Birthday #SIC37 was first posted on September 12, 2022 at 4:43 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
What is faith? And How far can it take us?
Sergio Trefaut, Joana Bernardo – A Noiva – The Bride #Venezia79 was first posted on September 12, 2022 at 2:37 pm.
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What is faith? And How far can it take us?Sergio Trefaut, Joana Bernardo – A Noiva – The Bride #Venezia79 was first posted on September 12, 2022 at 2:37 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
How do you deal with toxic masculinity and your real self?David Wagner, Gerhard Liebmann, Luka Dimic – Eismayer #SIC37 was first posted on September 11, 2022 at 9:55 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
How do you deal with toxic masculinity and your real self?
David Wagner, Gerhard Liebmann, Luka Dimic – Eismayer #SIC37 was first posted on September 11, 2022 at 9:55 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The recipient of the FRED Award 2022 talks about her craft and career.Céline Sciamma – FRED Award 2022 #Venezia79 was first posted on September 10, 2022 at 2:42 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The recipient of the FRED Award 2022 talks about her craft and career.
Céline Sciamma – FRED Award 2022 #Venezia79 was first posted on September 10, 2022 at 2:42 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Tessa Thompson receives the FRED Award and talks about what it is to be an actress.Tessa Thompson – FRED Award 2022 #Venezia79 was first posted on September 10, 2022 at 2:35 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Tessa Thompson receives the FRED Award and talks about what it is to be an actress.
Tessa Thompson – FRED Award 2022 #Venezia79 was first posted on September 10, 2022 at 2:35 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The Lux Prize in the words of Evelyn Regner, VP European parliament and Referent for the Lux Prize.
Evelyn Regner #Venezia79 was first posted on September 9, 2022 at 8:08 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The Lux Prize in the words of Evelyn Regner, VP European parliament and Referent for the Lux Prize.Evelyn Regner #Venezia79 was first posted on September 9, 2022 at 8:08 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
How far can you go in order to survive?
Isabella Carbonell – Dogborn #SIC37 was first posted on September 9, 2022 at 5:48 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
How far can you go in order to survive?Isabella Carbonell – Dogborn #SIC37 was first posted on September 9, 2022 at 5:48 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Without hope, we'll never find the strenght to stand up... no fresh air for us to breathe in... no life left to live.Vahid Jalivvand – Shab, Dakheli, Divar – Beyond the Wall #Venezia79 was first posted on September 9, 2022 at 5:20 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Without hope, we'll never find the strenght to stand up... no fresh air for us to breathe in... no life left to live.
Vahid Jalivvand – Shab, Dakheli, Divar – Beyond the Wall #Venezia79 was first posted on September 9, 2022 at 5:20 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
How can you choose between your faith in God, and the moral values you've grown up with?Mihai Mincan – To the North #Venezia79 was first posted on September 9, 2022 at 10:59 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
How can you choose between your faith in God, and the moral values you've grown up with?
Mihai Mincan – To the North #Venezia79 was first posted on September 9, 2022 at 10:59 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The message is bold, and not easy to understand immediately: the revolution is achieved through weakness.
Claudia Varejão – Lobo e Cão #Giornate2022 was first posted on September 9, 2022 at 10:47 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The message is bold, and not easy to understand immediately: the revolution is achieved through weakness.Claudia Varejão – Lobo e Cão #Giornate2022 was first posted on September 9, 2022 at 10:47 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
How much is strong the need to create a new world, in which people slow down, finding theirselves again, learning, really, to comunicate with each other.
Cristina Groçan – Ordinary Failures #Giornate2022 was first posted on September 9, 2022 at 10:31 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
How much is strong the need to create a new world, in which people slow down, finding theirselves again, learning, really, to comunicate with each other.Cristina Groçan – Ordinary Failures #Giornate2022 was first posted on September 9, 2022 at 10:31 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The way to understand that machine all around the world through the eyes and history of Philippines.Lav Diaz – When waves are gone #Venezia79 was first posted on September 9, 2022 at 9:58 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The way to understand that machine all around the world through the eyes and history of Philippines.
Lav Diaz – When waves are gone #Venezia79 was first posted on September 9, 2022 at 9:58 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A woman looks for her identity in the first feature film by Dušan Zorić and Matija Gluščević.
Dušan Zorić, Matija Gluščević – Have you seen this woman? #SIC37 was first posted on September 9, 2022 at 9:52 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A woman looks for her identity in the first feature film by Dušan Zorić and Matija Gluščević.Dušan Zorić, Matija Gluščević – Have you seen this woman? #SIC37 was first posted on September 9, 2022 at 9:52 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A psychological portrait of Marilyn Monroe based on the novel by Joyce Carol Oates.
Andrew Dominik – Blonde #Venezia79 was first posted on September 9, 2022 at 9:33 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A psychological portrait of Marilyn Monroe based on the novel by Joyce Carol Oates.Andrew Dominik – Blonde #Venezia79 was first posted on September 9, 2022 at 9:33 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The outcomes of the Venice Prodution Bridge 2022 through the words of its director Pascal Diot.Pascal Diot – Venice Production Bridge #Venezia79 was first posted on September 8, 2022 at 7:53 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The outcomes of the Venice Prodution Bridge 2022 through the words of its director Pascal Diot.
Pascal Diot – Venice Production Bridge #Venezia79 was first posted on September 8, 2022 at 7:53 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
What does define a person, Mind or body? What do you love in your significant other?Alex Schaad and Dimitrij Schaad – Skin Deep #SIC37 was first posted on September 8, 2022 at 9:10 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
What does define a person, Mind or body? What do you love in your significant other?
Alex Schaad and Dimitrij Schaad – Skin Deep #SIC37 was first posted on September 8, 2022 at 9:10 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Graham Foy told us with his The Maiden how to deal with pain and sorrow, by showing how to turn dirt into gold.
Graham Foy – The Maiden #Giornate2022 was first posted on September 8, 2022 at 8:53 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Graham Foy told us with his The Maiden how to deal with pain and sorrow, by showing how to turn dirt into gold.Graham Foy – The Maiden #Giornate2022 was first posted on September 8, 2022 at 8:53 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Interview with Arian Vazirdaftari about the relationship between the past and memory, without them are we the same?
Arian Vazirdaftari – Bi Roya – Without Her #Venezia79 was first posted on September 8, 2022 at 8:17 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Interview with Arian Vazirdaftari about the relationship between the past and memory, without them are we the same?Arian Vazirdaftari – Bi Roya – Without Her #Venezia79 was first posted on September 8, 2022 at 8:17 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Growing up in the shadow of a missing father.
Antonio Lukich – Luxembourg, Luxembourg #Venezia79 was first posted on September 8, 2022 at 7:38 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Growing up in the shadow of a missing father.Antonio Lukich – Luxembourg, Luxembourg #Venezia79 was first posted on September 8, 2022 at 7:38 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The real story of a band rediscovered 30 years ago after the release of its first albumNoah Jupe, Jack Dylan Grazer – Dreamin' wild #Venezia79 was first posted on September 8, 2022 at 7:04 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The real story of a band rediscovered 30 years ago after the release of its first album
Noah Jupe, Jack Dylan Grazer – Dreamin’ wild #Venezia79 was first posted on September 8, 2022 at 7:04 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The daily Show with Matt Micucci frome the Venice Film Festival!
Big FRED Venice – 7th September #Venezia79 was first posted on September 7, 2022 at 9:28 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The daily Show with Matt Micucci frome the Venice Film Festival!Big FRED Venice – 7th September #Venezia79 was first posted on September 7, 2022 at 9:28 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A woman torn between family and the search for the truth.Michal Blasko – Victim #Venezia79 was first posted on September 7, 2022 at 8:59 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A woman torn between family and the search for the truth.
Michal Blasko – Victim #Venezia79 was first posted on September 7, 2022 at 8:59 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Reprising a longstanding creative partnership.
Joanna Hogg, Tilda Swinton – The Eternal Daughter #Venezia79 was first posted on September 7, 2022 at 8:43 pm.
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Reprising a longstanding creative partnership.Joanna Hogg, Tilda Swinton – The Eternal Daughter #Venezia79 was first posted on September 7, 2022 at 8:43 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The daily Show with Matt Micucci frome the Venice Film Festival!
Big FRED Venice – 6th September #Venezia79 was first posted on September 6, 2022 at 9:20 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The daily Show with Matt Micucci frome the Venice Film Festival!Big FRED Venice – 6th September #Venezia79 was first posted on September 6, 2022 at 9:20 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Reuniting with Brendan Gleeson and Colin Farrell on a new, powerful film.
Martin McDonagh – The Banshees of Inisherin #Venezia79 was first posted on September 6, 2022 at 11:14 am.
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Reuniting with Brendan Gleeson and Colin Farrell on a new, powerful film.Martin McDonagh – The Banshees of Inisherin #Venezia79 was first posted on September 6, 2022 at 11:14 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A story of children and the Israeli military force.
Guy Davidi – Innocence #Venezia79 was first posted on September 6, 2022 at 6:17 am.
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A story of children and the Israeli military force.Guy Davidi – Innocence #Venezia79 was first posted on September 6, 2022 at 6:17 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Together again in a new film by Martin McDonagh.Colin Farrell, Brendan Gleeson – The Banshees of Inisherin #Venezia79 was first posted on September 6, 2022 at 6:05 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Together again in a new film by Martin McDonagh.
Colin Farrell, Brendan Gleeson – The Banshees of Inisherin #Venezia79 was first posted on September 6, 2022 at 6:05 am.
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Embodying the central dilemma in Martin McDonagh's latest film.
Kerry Condon – The Banshees of Inisherin #Venezia79 was first posted on September 6, 2022 at 6:00 am.
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Embodying the central dilemma in Martin McDonagh's latest film.Kerry Condon – The Banshees of Inisherin #Venezia79 was first posted on September 6, 2022 at 6:00 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The daily Show with Matt Micucci frome the Venice Film Festival!
Big FRED Venice – 5th September #Venezia79 was first posted on September 5, 2022 at 6:24 pm.
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An archive documentary about the 1946 Nazi war trial.Sergei Loznitsa – The Kiev Trial #Venezia79 was first posted on September 5, 2022 at 7:25 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
An archive documentary about the 1946 Nazi war trial.
Sergei Loznitsa – The Kiev Trial #Venezia79 was first posted on September 5, 2022 at 7:25 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Reimagining the legend of Queen Zaphira.
Adila Bendimerad, Damien Ounouri – The last queen #Giornate2022 was first posted on September 5, 2022 at 6:55 am.
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Reimagining the legend of Queen Zaphira.Adila Bendimerad, Damien Ounouri – The last queen #Giornate2022 was first posted on September 5, 2022 at 6:55 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A film about the life of photographer Nan Goldin and her fight against the Sackler family.Laura Poitras, Nan Goldin, Harry Cullen, Megan Kapler – All the beauty and the bloodshed #Venezia79 was first posted on September 4, 2022 at 11:16 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A film about the life of photographer Nan Goldin and her fight against the Sackler family.
Laura Poitras, Nan Goldin, Harry Cullen, Megan Kapler – All the beauty and the bloodshed #Venezia79 was first posted on September 4, 2022 at 11:16 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A portrait of the war in Syria from the perspective of a young girl whose father doesn't want to leave her home.
Soudade Kaadan – Nezouh #Venezia79 was first posted on September 4, 2022 at 10:52 am.
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A portrait of the war in Syria from the perspective of a young girl whose father doesn't want to leave her home.Soudade Kaadan – Nezouh #Venezia79 was first posted on September 4, 2022 at 10:52 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Guadagnino: Bones and All is about impossible love, about the disenfranchised, and about the dream of finding a home.”Timothée Chalamet, Luca Guadagnino, Taylor Russell – Bones and all #Venezia79 was first posted on September 4, 2022 at 7:51 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Guadagnino: Bones and All is about impossible love, about the disenfranchised, and about the dream of finding a home.”
Timothée Chalamet, Luca Guadagnino, Taylor Russell – Bones and all #Venezia79 was first posted on September 4, 2022 at 7:51 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A chat with the lead actor in Paul Schrader's new film.
Joel Edgerton – Master Gardener #Venezia79 was first posted on September 4, 2022 at 7:24 am.
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A chat with the lead actor in Paul Schrader's new film.Joel Edgerton – Master Gardener #Venezia79 was first posted on September 4, 2022 at 7:24 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Casa Susanna is a documentary very interesting and tells an incredible story. The director says at our mics how the project started.Sébastien Lifshitz – Casa Susanna #Giornate2022 was first posted on September 4, 2022 at 6:42 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Casa Susanna is a documentary very interesting and tells an incredible story. The director says at our mics how the project started.
Sébastien Lifshitz – Casa Susanna #Giornate2022 was first posted on September 4, 2022 at 6:42 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Cate Blanchett on creating Lydia Tár and never judging her characters.
Cate Blanchett, Todd Field – Tár #Venezia79 was first posted on September 3, 2022 at 11:42 am.
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Cate Blanchett on creating Lydia Tár and never judging her characters.Cate Blanchett, Todd Field – Tár #Venezia79 was first posted on September 3, 2022 at 11:42 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
An Ukranian woman arrives to Israel to get married with a man she has never seen before.
Michal Vinik – Valeria is getting married #Venezia79 was first posted on September 3, 2022 at 9:18 am.
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An Ukranian woman arrives to Israel to get married with a man she has never seen before.Michal Vinik – Valeria is getting married #Venezia79 was first posted on September 3, 2022 at 9:18 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The hidden story of a scientists that leaked classified information about nuclear weapons to Russia after the Second World War.
Steve James – A compassionate spy #Venezia79 was first posted on September 3, 2022 at 9:01 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Padre Pio and the birth of Fascism.Abel Ferrara – Padre Pio #Giornate2022 was first posted on September 3, 2022 at 8:45 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Padre Pio and the birth of Fascism.
Abel Ferrara – Padre Pio #Giornate2022 was first posted on September 3, 2022 at 8:45 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A closeted lesbian teacher grappling with her identity in the Thatcher years.
Georgia Oakley, Rosy McEwen – Blue Jean #Giornate2022 was first posted on September 3, 2022 at 8:25 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A closeted lesbian teacher grappling with her identity in the Thatcher years.Georgia Oakley, Rosy McEwen – Blue Jean #Giornate2022 was first posted on September 3, 2022 at 8:25 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Re-evaluating love and life in the time of the pandemic.Cecilia Maniucchi – Worlds Apart #Giornate2022 was first posted on September 3, 2022 at 8:16 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Re-evaluating love and life in the time of the pandemic.
Cecilia Maniucchi – Worlds Apart #Giornate2022 was first posted on September 3, 2022 at 8:16 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The director of 'Living', out of competition in Venice Film Festival, talks to FRED about adapting Kurosawa's masterpiece.Oliver Hermanus – Living #Venezia79 was first posted on September 3, 2022 at 8:01 am.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The director of 'Living', out of competition in Venice Film Festival, talks to FRED about adapting Kurosawa's masterpiece.
Oliver Hermanus – Living #Venezia79 was first posted on September 3, 2022 at 8:01 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The daily Show with Matt Micucci frome the Venice Film Festival!
Big FRED Venice – 2nd September #Venezia79 was first posted on September 2, 2022 at 6:49 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The daily Show with Matt Micucci frome the Venice Film Festival!Big FRED Venice – 2nd September #Venezia79 was first posted on September 2, 2022 at 6:49 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The lead protagonist of Living, out of competition in Venice, talks to FRED about reprising Kurosawa's role.Bill Nighy – Living #Venezia79 was first posted on September 2, 2022 at 3:59 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The lead protagonist of Living, out of competition in Venice, talks to FRED about reprising Kurosawa's role.
Bill Nighy – Living #Venezia79 was first posted on September 2, 2022 at 3:59 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Is it possible to start a new life with a new identity?Kei Ishikawa – A Man #Venezia79 was first posted on September 2, 2022 at 3:46 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Is it possible to start a new life with a new identity?
Kei Ishikawa – A Man #Venezia79 was first posted on September 2, 2022 at 3:46 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Welcome to the kingdom of Lars Von Trier.
Nikolaj Lie Kaas and Ida Engvoll – The Kingdom: Exodus #Venezia79 was first posted on September 2, 2022 at 3:15 pm.
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Welcome to the kingdom of Lars Von Trier.Nikolaj Lie Kaas and Ida Engvoll – The Kingdom: Exodus #Venezia79 was first posted on September 2, 2022 at 3:15 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A chat with the Ugandan music superstar who leads the fight for change in his native land.
Bobi Wine – Bobi Wine: Ghetto President #Venezia79 was first posted on September 2, 2022 at 2:09 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A chat with the Ugandan music superstar who leads the fight for change in his native land.Bobi Wine – Bobi Wine: Ghetto President #Venezia79 was first posted on September 2, 2022 at 2:09 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The Opening Film of Giornate degli Autori: a love story of two outsiders in contemporary Lebanon.
Wissam Charaf – Dirty Difficult Dangerous #Giornate2022 was first posted on September 1, 2022 at 12:06 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
An essay film and historical document on the ascent and fall-out of Fascism in Italy.
Mark Cousins – The March on Rome #Giornate2022 was first posted on September 1, 2022 at 11:53 am.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The daily Show with Matt Micucci frome the Venice Film Festival!
Big FRED Venice – Day 1 #Venezia79 was first posted on August 31, 2022 at 7:41 pm.
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Greta Gerwig on how the film, based on Don De Lillo's 1985 book, talks about today's world.Greta Gerwig – White Noise #Venezia79 was first posted on August 31, 2022 at 7:05 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Greta Gerwig on how the film, based on Don De Lillo's 1985 book, talks about today's world.
Greta Gerwig – White Noise #Venezia79 was first posted on August 31, 2022 at 7:05 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A long chat with Sophie Marceau, who talks about her new film A Woman and much more.
Sophie Marceau – A Woman #Locarno75 was first posted on August 27, 2022 at 8:06 pm.
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After M, director Anna Eriksson returns with her provocative new film W.
Anna Eriksson – W #Locarno75 was first posted on August 27, 2022 at 7:55 pm.
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On the streets of Lisbon, rediscovering cinema.
João Pedro Rodrigues, João Rui Guerra da Mata – Where Is This Street? Or With No Before And After #Locarno75 was first posted on August 27, 2022 at 8:54 am.
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Important cinematographic influences for a film that is a fierce criticism of the cyclicity of history and a reflection on the future that awaits the new generations.Carlos Conceição – Nação Valente (Tommy Guns) #Locarno75 was first posted on August 25, 2022 at 8:40 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Important cinematographic influences for a film that is a fierce criticism of the cyclicity of history and a reflection on the future that awaits the new generations.
Carlos Conceição – Nação Valente (Tommy Guns) #Locarno75 was first posted on August 25, 2022 at 8:40 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A journey into the America of disillusionment, starting from a poem.
Bianca Lucas – Love Dog #Locarno75 was first posted on August 25, 2022 at 8:24 pm.
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A journey into the America of disillusionment, starting from a poem.Bianca Lucas – Love Dog #Locarno75 was first posted on August 25, 2022 at 8:24 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Sci-fi, film footage and rock music in a very special first feature film.
Andrew Legge – LOLA #Locarno75 was first posted on August 25, 2022 at 8:13 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Sci-fi, film footage and rock music in a very special first feature film.Andrew Legge – LOLA #Locarno75 was first posted on August 25, 2022 at 8:13 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Getting over a break up can be the toughest thing ever.
Nicolai Johnansen – If You Knew #KVIFF56 was first posted on July 13, 2022 at 1:45 pm.
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A woman uses her pregnancy to smuglle drugs through the border, thinking to be in control. But she is not.
Max Ovaska – Carrier #KVIFF56 was first posted on July 13, 2022 at 1:18 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
The film brings on a new take on immigration and exploitation of people in need, with a stady narrative and an intense lead character.
Martin Kuba – Vinland #KVIFF56 was first posted on July 13, 2022 at 12:58 pm.
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A girl cannot sleep, no therapy works and no one really cares for her that much. An astounding short film with a mesmerising new young actress.
Magdalena Chmielewska – Lullaby #KVIFF56 was first posted on July 13, 2022 at 12:50 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
Meet-ups in the digiatl age can be tricky, so better not reveal oneself all at once. A truthful and insightful short film.
Lukas Kacinaukas – I Was Max #KVIFF56 was first posted on July 13, 2022 at 12:41 pm.
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When creativity is work and you cannot find insipration: this is what this pop and multidimensional film is about.
Brenda Lien – First Work Then Play #KVIFF56 was first posted on July 13, 2022 at 12:32 pm.
©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
"One of the best aspects of doing this movie is that you get to be a female superhero with another female superhero" : Natalie Portman on teaming up with Tessa Thompson as Valkyrie in Thor:Love and Thunder.
Natalie Portman – Thor: Love and Thunder was first posted on July 9, 2022 at 8:08 am.
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A cinematic letter of director Carmen Pedrero to her teen self of the past.
Carmen Pedrero – Winds of Springtime #KVIFF56 was first posted on July 6, 2022 at 2:10 pm.
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A loving drama about parents and children, about accepting oneself, and about a new dress that can change a lot of things. Maciej Jankowski in Future Frames at KVIFF describes his diploma film.
Maciej Jankowski – Fruits and Vegetables #KVIFF56 was first posted on July 6, 2022 at 1:42 pm.
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Satire and sense of humour as the best ways to direct a family portrait. In Future Frames Slovak director Alica Bednáriková discusses family and women in cinema
Alica Bednáriková – Liquid Bread #KVIFF56 was first posted on July 6, 2022 at 1:33 pm.
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The cast of Thor: Love and Thunder talks about the movie during the world premiere in Hollywood.
Chris Hemsoworth, Christian Bale, Natalie Portman, Taika Waititi – Thor: Love and Thunder was first posted on June 27, 2022 at 2:08 pm.
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Danny Glover on being an artist and an activist.
Danny Glover #FISF22 was first posted on June 27, 2022 at 1:35 pm.
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Slovenian director Tijana Zinajić’s debut dramedy follows a floundering millennial struggling with menstruation, rent and inspiration.
Tijana Zinajić – Bitch, A Derogatory Term for a Woman #SydFilmFest was first posted on June 22, 2022 at 7:10 am.
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Bianca Stigter on her traveling from festival to festival with her Three Minutes a Lengthening.
Bianca Stigter – Three Minutes a Legthening #SydFilmFest was first posted on June 22, 2022 at 6:51 am.
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From Sundance to Sydney, an ode to female friendship and first love.
Alli Haapasalo – Girl Picture #SydFilmFest was first posted on June 22, 2022 at 6:32 am.
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Small Body lands at the Sydney Film Festival in the program strand Europe! Voices of Women in Film.
Laura Samani – Small Body #SydFilmFest was first posted on June 21, 2022 at 9:20 pm.
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Waiting for Wakanda Forever, Winston Duke talks about mythology, Marvel Movies and representation in Hollywood.
Winston Duke #FISF22 was first posted on June 18, 2022 at 1:52 pm.
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Justin Hartley at the 5th Filming Italy Sardegna Festival: From This is us to new adventures as producer.
Justin Hartley #FISF22 was first posted on June 18, 2022 at 1:44 pm.
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Since 2016, more than 60 female filmmakersfrom Europe have seen their celluloid dreams dance across Sydney’s silver – and digital –screens thanks to a key Sydney Film Festival program strand. Europe! Voices of Women in Film shares exceptional features with an audience and city that mightn’t get the pleasure of seeing them otherwise. It champions women-directed films, celebrates the talents behind them, and tackles cinema’s gender inequality in the most powerful way it can: by connecting movies with viewers.
Eva Vitija, Alina Grigore, Tea Lindeburg #SydFilmFest was first posted on June 15, 2022 at 7:41 am.
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The portrait of a woman nad her family of men in contemporary Iran.
Saeed Roustaee – Leila’s Brothers #Cannes2022 was first posted on June 15, 2022 at 7:23 am.
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An urgent and necessary hard film on war, so contemporary.
Maksim Nackonechnyi – Butterfly Vision #Cannes2022 was first posted on June 14, 2022 at 9:36 pm.
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The trip of a young Danish priest to build a church in Iceland turns into an inner self-discovery, and a hard one too.
Hylnur Palmason – Godland #Cannes2022 was first posted on June 14, 2022 at 8:44 pm.
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From journalist to international actor: Édgar Ramírez on his career change and his recent jury duty experience in Cannes.
Édgar Ramírez – Filming Italy Sardegna Festival #FISF22 was first posted on June 13, 2022 at 8:35 am.
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Looking back at a piece of history: Jerry Macguire.
Cuba Gooding Jr – Filming Italy Sardegna Festival #FISF22 was first posted on June 12, 2022 at 11:45 am.
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By depicting the story of two brothers' devoting their life to protecting the black knite, Shaunak Sen with the documentary All that Breathes, explores the concept of toxicity in the air and among people.
Shaunak Sen – All that breathes #Cannes2022 was first posted on June 10, 2022 at 9:10 am.
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A reverse Don Juan story to create a duet between two great actors: Tahar Rahim and Virginie Efira.
Serge Bozon – Don Juan #Cannes2022 was first posted on June 9, 2022 at 10:50 am.
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An unpredictable optimistic philosophical fable by screenwriter turned director Mikko Myllylahti.
Mikko Myllylahty – The Woodcutter Story #Cannes2022 was first posted on June 9, 2022 at 10:21 am.
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Magic realism and the energy from a real and live neighbourhood in France are the keys for Clément Cogitore's film in the Semaine de la Critique.
Clément Cogitore – Sons of Ramses #Cannes2022 was first posted on June 9, 2022 at 10:04 am.
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A dystopic future that warns today's world.
Chie Hayakawa – Plan 75 #Cannes2022 was first posted on June 9, 2022 at 9:47 am.
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A dreamlike tale about the infinite human connections.
Ali Behrad – Tasavor (Imagine) #Cannes2022 was first posted on June 9, 2022 at 8:57 am.
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Portraying a complex character in the aftermath of the Arab Spring.
Adam Bessa – Harka #Cannes2022 was first posted on June 9, 2022 at 8:45 am.
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The world’s best new films come to Sydney this year for 12 days and nights of inspiring and entertaining premieres, talks and parties. Join us and be among the first in Australia to see the greatest, strangest and most exciting work that cinema has to offer.
Nashen Moodley – Festival Director #SydFilmFest was first posted on June 8, 2022 at 7:10 am.
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A provocative thriller of the relationship between religion and public power in Egypt.
Tarik Saleh – Boy From Heaven #Cannes2022 was first posted on June 4, 2022 at 9:03 am.
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A 12 years long documentary on youth in Russia and the so-called "Federation of Depression". Moving and intimate.
Marusya Syroechkovskaya – How To Save A Dead Friend #Cannes2022 was first posted on June 3, 2022 at 1:50 pm.
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An acknowledgement of the strength of a woman on the back drop of Chilean worst year in history, 1976.
Manuela Martelli – 1976 #Cannes2022 was first posted on June 3, 2022 at 9:38 am.
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A fantasy queer musical, a joyful and sexy ride into a man's memories.
Joao Pedro Rodriguez – Will-O’-The-Wisp #Cannes2022 was first posted on June 3, 2022 at 9:27 am.
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Visually astounding a political fable about the power of imagination.
Ali Cherri – The Dam #Cannes2022 was first posted on June 3, 2022 at 9:12 am.
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Dmytro Sukholytkyy-Sobchuk talks about his Ukraine with his first feature film Pamfir, about a man who would do anything to save his family.
Dmytro Sukholytkyy-Sobchuk – Pamfir #Cannes2022 was first posted on June 2, 2022 at 10:46 am.
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An anti-rom-com about a desperate quest for love.
Kristoffer Borgli – Sick of myself #Cannes2022 was first posted on May 31, 2022 at 7:53 am.
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Balancing fun and drama in the unromantic comedy by Kristoffer Borgli.
Kristine Kujath Thorp – Sick of myself #Cannes2022 was first posted on May 31, 2022 at 7:42 am.
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A man defends his home and his memories that comes back to him in the mist.
Ariel Esacalante Meza – Domingo and The Mist #Cannes2022 was first posted on May 30, 2022 at 9:22 pm.
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An intelligent buddy comedy on the background of contemporary palestinian day-to-day life.
Ahmer Hlelel, Ashraf Farah – Mediterranean Fever #Cannes2022 was first posted on May 30, 2022 at 9:09 pm.
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Inspired by Mohamed Bouazizi's act of self-immolation which became the catalyst for the Arab Spring in 2010, a film about "those who remain".
Lotfy Nathan – Harka #Cannes2022 was first posted on May 27, 2022 at 2:55 pm.
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A beautifully filmed, written and interpreted adaptation of Paolo Cognetti's novel "Le otto montagne".
Felix Van Groeningen, Charlotte Vandermeersch – The Eight Mountains #Cannes2022 was first posted on May 27, 2022 at 2:42 pm.
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The last film with Gaspard Ulliel is about a woman finally choosing how to live her life, when facing death.
Emily Atef – More than Ever #Cannes2022 was first posted on May 27, 2022 at 2:13 pm.
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A girl forcing her way into the motocross world, a man's world.
Lola Quivoron – Rodeo #Cannes2022 was first posted on May 24, 2022 at 7:35 am.
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The German Film Festival will take place nationally from 24 May to 22 June in Sydney, Melbourne, Adelaide, Perth, Canberra, Brisbane and Byron Bay.
Kevin Leutenegger – German Film Festival was first posted on May 22, 2022 at 6:35 pm.
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The Spanish Film Festival presented by Palace returns in 2022 with a curated selection of 34 films offering film lovers a cinematic journey across Spain and Latin America. The 24th edition of the festival features two key programme strands: New Spanish Cinema and Cine Latino.
Benjamin Zeccola – Spanish Film Festival #SpanishFilmFest was first posted on May 14, 2022 at 7:05 pm.
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The rare case of a film all done by trans people, for the trans community that overlaps the niche barriers to become a festival phenomenon.
Lyle Kash – Death & Bowling #LFF37 was first posted on May 5, 2022 at 9:04 pm.
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The Opening Night film of Lovers Film Festival 37 in the words of the director Matt Carter and his actors Alexander King and Ivan Comisso.
Matt Carter, Alexander King, Ivan Comisso – In From The Side #LFF37 was first posted on May 5, 2022 at 8:55 pm.
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A film as a therapeutic and emotional way to reconnect with the past and with a lost brother.
Peter McDowell – Jimmy in Saigon #LFF37 was first posted on May 2, 2022 at 7:57 pm.
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"The earthquake is the central character of the film". The magical realism of Finlandia at the Lovers Film Festival.
Horacio Alcalà – Finlandia #LFF37 was first posted on April 28, 2022 at 8:57 pm.
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Unveiling the past of Albus Dumbledore to finally starting to understand the source of his power, kindness and wisdom.
Jude Law, Eddie Redmayne,Mads Mikkelsen – Fantastic Beasts: The Secrets of Dumbledore was first posted on April 15, 2022 at 9:48 am.
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20 years after Shakespeare in love, John Madden directs Colin Firth again in a true war story hiding the origin of 007.
John Madden – Operation Mincemeat was first posted on March 31, 2022 at 8:05 pm.
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Building a Marvel Superhero whose inner conflict is actually visual. Justin Benson & Aaron Moorhead talk about creating the world of Moon Knight.
Justin Benson, Aaron Moorhead – Moon Knight was first posted on March 30, 2022 at 4:04 pm.
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The outcomes of the 2022 in person version for European Coproduciton Forum, from the founder himself Pascal Diot.
Pascal Diot – European Coproduction Forum was first posted on March 28, 2022 at 6:56 pm.
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Our juicy selection of 55 films from 20 countries explores the challenges accompanying change, a story familiar to Jewish people.
Eddie Tamir – Jewish International Film Festival #JIFF2022 was first posted on March 22, 2022 at 7:52 am.
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The Italian operatic pop trio talks about their new album entirely dedicated to the Maestro Ennio Morricone.
Il Volo – Il Volo Sings Morricone #FILA2022 was first posted on March 7, 2022 at 2:45 pm.
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Muccino opens up about his journey, from the TV show Ultimo Minuto to working in Hollywood, always keeping the same way mentality and the same way of looking at things. "No I would like to work with Brad Pitt or Leo DiCaprio.
Gabriele Muccino #FILA2022 was first posted on March 7, 2022 at 2:33 pm.
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The actors portraying Gennaro Savastano in Gomorra, opens up about his journey, his pacifist vision of the world and the differences between the Italian and the American movie industry.
Salvatore Esposito – Gomorra #FILA2022 was first posted on March 7, 2022 at 2:20 pm.
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Releasing our Red Panda to find our true self.
Domee Shi, Lindsey Collins – Turning Red was first posted on March 1, 2022 at 9:07 am.
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A small tribute to Stephen Kijack at Seeyousond 8: three films we discuss with the director himself.
Stephen Kijack – Shoplifters of The World #SYSF22 was first posted on March 1, 2022 at 7:53 am.
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Lone Scherfig becomes showrunner for a realistic and touching series set in the Maternity ward.
Lone Scherfig, Søren Balle – The Shift #Berlinale2022 was first posted on March 1, 2022 at 7:29 am.
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(Synthetic) Diamonds lasts forever. At the 72 Berlinale, a documentary discussing the real value of the gems representing the ultimate symbol of committed love.
Jason Kohn – Nothing lasts forever #Berlinale2022 was first posted on March 1, 2022 at 7:17 am.
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Ursula Meier talks about her film "The Line" and the meaning of symbolism in her work.
Ursula Meier – The Line #Berlinale2022 was first posted on February 26, 2022 at 10:24 am.
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Dale Dickey about her performance in "A Love Song" and her personal Indie/Blockbuster balance.
Dale Dickey – A Love Song #Berlinale2022 was first posted on February 26, 2022 at 10:08 am.
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Feature debutant Max Walker-Silverman about making movies is like writing a country song.
Max Walker Silverman – A Love Song #Berlinale2022 was first posted on February 26, 2022 at 9:57 am.
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Charlotte Gainsbourg about her mother role in Mikhaël Hers "Passengers Of The Night"
Charlotte Gainsbourg – Passengers Of The Night #Berlinale2022 was first posted on February 26, 2022 at 9:39 am.
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Talking with the director of the European Film Market Dennis Ruh about another edition on line, pros and cons and hopes for the future.
Dennis Ruh – European Film Market #Berlinale2022 was first posted on February 23, 2022 at 5:07 pm.
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From a real story, a very contemporary film, sadly a little too much. Maggie Peren talks with us about all the references and implications of it.
Maggie Peren – The Forger #Berlinale2022 was first posted on February 23, 2022 at 4:48 pm.
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Incredible Dupieux makes it possible to be surreal and down to earth at the same time with Incredible but true in Berlinale Special Gala.
Quentin Dupieux – Incredible but true #Berlinale2022 was first posted on February 23, 2022 at 4:30 pm.
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Finding love in the most unexpected way.
Li Ruijun – Return to Dust #Berlinale2022 was first posted on February 23, 2022 at 4:12 pm.
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Exploring the nuances of women' sexuality.
Denis Coté – That Kind of Summer #Berlinale2022 was first posted on February 23, 2022 at 3:55 pm.
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The lesson we learn from Uncharted: it's not about the treasure but the quest and the people you share the adventure with!
Ruben Fleischer – Uncharted was first posted on February 18, 2022 at 4:08 pm.
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Exercises in Resistance: The Berlinale 2022 and its connection to the audience.
Carlo Chatrian #Berlinale2022 was first posted on February 15, 2022 at 8:43 am.
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At the 72nd Berlinale, Sofie Gråbøl welcomes us in the unconventional world of midwives as seen by Lone Scherfig.
Sofie Gråbøl – The Shift #Berlinale2022 was first posted on February 13, 2022 at 10:29 am.
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One of the films winner at Trieste, and at Karlovi Vary as well. A heartfelt love story amidst the refugees drama.
Stefan Arsenijevic – As Far As I Can Walk #TSFF33 was first posted on February 1, 2022 at 9:04 am.
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Expanding the bounds of 3D filmmaking.
Edgar Pêra – Kinorama – Beyond the Walls of the Real #IFFR2022 was first posted on February 1, 2022 at 8:47 am.
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The Weekly Show with Matt Micucci by FRED Film Radio!
Big FRED Tuesday – Weekly Show – 1st February 2022 was first posted on February 1, 2022 at 7:59 am.
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A local newspaper journalist stumbles upon the strange story of a refugee's deportation.
Anders Emblem – A Human Position #IFFR2022 was first posted on January 27, 2022 at 6:09 pm.
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A BFI Southbank retrospective on Danish silent film star Asta Nielsen.
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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The new Kosovo cinema wave lands in Trieste thanks to Norika Sefa's Looking for Venera presented in competition.
Norika Sefa – Looking for Venera #TSFF33 was first posted on January 25, 2022 at 6:32 pm.
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The Weekly Show with Matt Micucci by FRED Film Radio!
Big FRED Tuesday – Weekly Show – 25th January 2022 was first posted on January 25, 2022 at 10:00 am.
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The 2022 hybrid edition of the festival will take place on January 21-30.
Bastian Meiresonne – Black Movie Geneva International Independent Film Festival was first posted on January 21, 2022 at 5:51 pm.
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A meditation on the difference betwen being alone and loneliness.
Hong Sung-eun – Aloners #TFF39 was first posted on January 21, 2022 at 3:48 pm.
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The Weekly Show with Matt Micucci by FRED Film Radio!
Big FRED Tuesday – Weekly Show – 18th January 2022 was first posted on January 18, 2022 at 8:50 am.
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The Weekly Show with Matt Micucci by FRED Film Radio!
Big FRED Tuesday – Weekly Show – 11th January 2021 was first posted on January 11, 2022 at 10:14 am.
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The Weekly Show with Matt Micucci by FRED Film Radio!
Big FRED Tuesday – Weekly Show – Best of 2021 was first posted on January 4, 2022 at 10:31 am.
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The Weekly Show with Matt Micucci by FRED Film Radio!
Big FRED Tuesday – Weekly Show – Best of 2021 was first posted on December 28, 2021 at 8:56 am.
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Revisiting the horrors of Chile's Colonia Dignidad.
Matias Rojas Valencia – A Place Called Dignity #PÖFF25 was first posted on December 24, 2021 at 2:45 pm.
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The Weekly Show with Matt Micucci by FRED Film Radio!
Big FRED Tuesday – Weekly Show – 21st December 2021 was first posted on December 21, 2021 at 9:55 am.
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A chat about the new "infectious" Amazon Original sci-fi thriller.
Michael Pearce – Encounter was first posted on December 18, 2021 at 8:18 am.
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The true story of a blood feud in the Albanian highlands.
Marija Zidar – Reconciliation #SydFilmFest was first posted on December 16, 2021 at 5:38 pm.
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A dense and intense narration of one of the many unknown episodes of WWII , with extraordinary film making.
Dénes Nagy – Natural Light #TFF39 was first posted on December 15, 2021 at 5:16 pm.
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The Weekly Show with Matt Micucci by FRED Film Radio!
Big FRED Tuesday – Weekly Show – 14th December 2021 was first posted on December 14, 2021 at 10:00 am.
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A "rap opera" on the joyless citizens of cold Warsaw.
Aleksandra Terpinska – Other People #PÖFF25 was first posted on December 13, 2021 at 8:28 pm.
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A sinister and psychedelic journey into the wild.
Uģis Olte – Upurga #PÖFF25 was first posted on December 13, 2021 at 8:11 pm.
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The story of her years in prison in her words, in the form of a visual diary.
Arantza Santesteban Perez – 918 Nights #TFF39 was first posted on December 13, 2021 at 5:43 pm.
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Imprisonment for being homosexual in postwar Germany.
Sebastian Meise – Great Freedom #TFF39 was first posted on December 11, 2021 at 4:15 pm.
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An intelligent film to explain the Israeli-Palestinian crisis in the form of a common tutorial.
Avi Mograbi – The First 54 Years – An Abbreviated Manual For Military Occupation #TFF39 was first posted on December 8, 2021 at 1:55 pm.
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The Weekly Show with Matt Micucci by FRED Film Radio!
Big FRED Tuesday – Weekly Show – 7th December 2021 was first posted on December 7, 2021 at 9:17 am.
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The tribute of TFF39 to two artists and filmmakers who have memory as a central issue of their work.
Joana Hadjithomas, Khalil Joreige #TFF39 was first posted on December 4, 2021 at 3:53 pm.
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Isabel Ivars with her skills in film marketing and sales is part of the International Jury at the 39th Torino Film Festival.
Isabel Ivars #TFF39 was first posted on December 3, 2021 at 5:11 pm.
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Director and president of international Jury of 39th Torino Film Festival.
Ildiko Enyedi #TFF39 was first posted on December 3, 2021 at 4:55 pm.
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With long shots and a fast pace, Selman Nacar give us a film that feel like a classical thriller.
Selman Nacar – Between Two Dawns #TFF39 was first posted on December 3, 2021 at 3:59 pm.
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A film about fitting in, feminism and self-affirmation shot in Patagonia, but not the tourists side of it.
Micaela Gonzalo – La Chica Nueva #TFF39 was first posted on December 2, 2021 at 5:41 pm.
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A funny and enthusiastic director talks about his funny and exciting film.
Garth Jennings – Sing 2 #TFF39 was first posted on December 1, 2021 at 1:52 pm.
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The Weekly Show with Matt Micucci by FRED Film Radio!
Big FRED Tuesday – Weekly Show – 30th November 2021 was first posted on November 30, 2021 at 11:27 am.
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An outstanding drama based on the true story of a Kosovo war widow fighting against patriarchy.
Blerta Basholli – Hive #SydFilmFest was first posted on November 28, 2021 at 1:09 pm.
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Life on the remains of a derelict building of Socialist Yugoslavia.
Srđan Keča – Museum of the Revolution #IDFA2021 was first posted on November 28, 2021 at 9:50 am.
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The President of CICAE talks about this year's European Arthouse Cinema Day.
Christian Bräuer – President of CICAE was first posted on November 28, 2021 at 9:36 am.
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The Weekly Show with Matt Micucci by FRED Film Radio!
Big FRED Tuesday – Weekly Show – 23rd November 2021 was first posted on November 23, 2021 at 11:00 am.
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A Finnish scientist takes on a multimillion-dollar project to make rain in the desert, but soon becomes caught in an ethical dilemma between research, finance and the environment.
Tuija Halttunen – How to Kill a Cloud #SydFilmFest was first posted on November 19, 2021 at 5:53 pm.
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Volunteers working tirelessly to rescue Europe's marine life from pollution and the violence of climate change.
Robin Petré – From the Wild Sea #SydFilmFest was first posted on November 19, 2021 at 5:21 pm.
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A POV portrait of a woman suffering from ALS.
Noah Amir Arjomand, Adam Isenberg – Eat Your Catfish #IDFA2021 was first posted on November 19, 2021 at 5:01 pm.
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The Weekly Show with Matt Micucci by FRED Film Radio!
Big FRED Tuesday – Weekly Show – 16th November 2021 was first posted on November 16, 2021 at 11:00 am.
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Unhappy with the prospects of being an illegal immigrant, a Ghanaian woman returns to her home country.
Fatimah Dadzie – Fati’s Choice #DokLeipzig was first posted on November 13, 2021 at 1:39 pm.
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Evi Romen’s debut feature tells the sensitive story of Mario, a restless young dancer from a conservative village whose best friend is killed in a deadly attack on a gay bar.
Evi Romen – Why not you #SydFilmFest was first posted on November 13, 2021 at 1:23 pm.
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A vibrant and carefree German-Persian nurse finds her world permanently shifted when she becomes the victim of a xenophobic attack, in Eline Gehring’s sensitive debut drama.
Eline Gehring – Nico #SydFilmFest was first posted on November 13, 2021 at 1:10 pm.
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Food and love are the ingredients of a charming comic drama about a woman with no memory who starts a new life as a cook at a run-down seaside tavern.
Angeliki Antoniou – Green Sea #SydFilmFest was first posted on November 12, 2021 at 4:29 pm.
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The British Film Festival presented by Palace returns in 2021 for its ninth year with a standout selection of films from the British Isles.
Kim Petalas – Festival Director #britishfilmfestival was first posted on November 12, 2021 at 4:09 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.
Accessible Cinema – Rocío Bernabé Caro was first posted on November 12, 2021 at 3:41 pm.
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The Weekly Show with Matt Micucci by FRED Film Radio!
Big FRED Tuesday – Weekly Show – 9th November 2021 was first posted on November 9, 2021 at 11:33 am.
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A semi-fictionalized documentary on life in a small village on the Russian-Ukrainian border.
Aleksey Lapin – Krai #DokLeipzig was first posted on November 8, 2021 at 4:26 pm.
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From the red carpet of the 2021 Rome Film Fest.
Alfonso Cuarón #RomaFF16 was first posted on November 7, 2021 at 11:23 am.
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A chat about the music of Cyrano.
Bryce Dessner – Cyrano #RomaFF16 was first posted on November 7, 2021 at 9:09 am.
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Portrait of a late-life love affair.
Carine Tardieu – The Young Lovers #RomaFF16 was first posted on November 7, 2021 at 8:57 am.
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What’s the biggest lesson we can learn from The Eternals ? The answers of the film’s cast on the red carpet of Rome film festival.
Gemma Chan, Richard Madden, Kit Harington, Angelina Jolie, Chloé Zhao, Victoria Alonso, Nate Moore – Eternals #RomaFF16 was first posted on November 4, 2021 at 8:33 pm.
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From Nomadland to Marvel's Eternals: Chloè Zhao on directing films with universal themes.
Chloè Zhao, Victoria Alonso – Eternals #RomaFF16 was first posted on November 4, 2021 at 8:17 pm.
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The Weekly Show with Matt Micucci by FRED Film Radio!
Big FRED Tuesday – Weekly Show – 2nd November 2021 was first posted on November 2, 2021 at 3:26 pm.
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A suitcase pimp's last picture show.
Sean Baker – Red Rocket #RomaFF16 was first posted on October 30, 2021 at 3:30 pm.
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Join us on an escape to Italy as we share the best new Italian films, including award-winning and star-studded dramas, comedies, thrillers and documentaries.
Elysia Zeccola – Festival Director #ItalianFilmFestival was first posted on October 29, 2021 at 6:07 pm.
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“With major disruptions in cinema releases, the Festival selection brings together some of the best films of the last two years; extraordinary works from major award-winners to some of the most anticipated films of the year.”
Nashen Moodley – Festival Director #SydFilmFest was first posted on October 29, 2021 at 1:55 pm.
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On the red carpet with Josh O'Connor and Eva Husson , talking about love and war and book adaptation.
Josh O’Connor, Eva Husson – Mothering Sunday #RomaFF16 was first posted on October 24, 2021 at 8:07 pm.
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Wright's remarkable touch on remaking a classic like Cyrano.
Joe Wright – Cyrano #RomaFF16 was first posted on October 24, 2021 at 4:59 pm.
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A daily report from the 2021 Rome Film Fest, with host Matt Micucci.
Big FRED Roma – October 23, 2021 #RomaFF16 was first posted on October 23, 2021 at 7:47 pm.
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The formative years of one of the most iconic footballers of our time.
Jens Sjögren – I Am Zlatan #RomaFF16 was first posted on October 23, 2021 at 12:31 pm.
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A childless couple's life drastically changes with the arrival of a mysterious newborn.
Valdimar Jóhannsson – Lamb #AlicenellaCittà was first posted on October 23, 2021 at 12:11 pm.
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Chastain is the star and producer of this cinematographic look at the extraordinary rise, fall and redemption of the televangelist Tammy Faye Bakker.
Jessica Chastain, Vincent D’Onofrio – The Eyes of Tammy Faye #RomaFF16 was first posted on October 23, 2021 at 11:09 am.
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Terror on Norwegian offshore oil rigs.
John Andreas Andersen – The North Sea #RomaFF16 was first posted on October 23, 2021 at 9:33 am.
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The stars of the new spectacular Norwegian disaster movie.
Kristine Kujath Thorp, Henrik Bjelland – The North Sea #RomaFF16 was first posted on October 23, 2021 at 8:57 am.
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A daily report from the 2021 Rome Film Fest, with host Matt Micucci.
Big FRED Roma – October 22, 2021 #RomaFF16 was first posted on October 22, 2021 at 7:44 pm.
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A daily report from the 2021 Rome Film Fest, with host Matt Micucci.
Big FRED Roma – October 21, 2021 #RomaFF16 was first posted on October 21, 2021 at 7:40 pm.
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A daily report from the 2021 Rome Film Fest, with host Matt Micucci.
Big FRED Roma – October 20, 2021 #RomaFF16 was first posted on October 20, 2021 at 7:39 pm.
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A daily report from the 2021 Rome Film Fest, with host Matt Micucci.
Big FRED Roma – October 19, 2021 #RomaFF16 was first posted on October 19, 2021 at 7:34 pm.
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A daily report from the 2021 Rome Film Fest, with host Matt Micucci.
Big FRED Roma – October 18, 2021 #RomaFF16 was first posted on October 18, 2021 at 7:25 pm.
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A daily report from the 2021 Rome Film Fest, with host Matt Micucci.
Big FRED Roma – October 17, 2021 #RomaFF16 was first posted on October 17, 2021 at 7:13 pm.
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A daily report from the 2021 Rome Film Fest, with host Matt Micucci.
Big FRED Roma – October 16, 2021 #RomaFF16 was first posted on October 16, 2021 at 5:17 pm.
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PODCAST | Daily news and updates from the 2020 Rome Film Fest, with Matt Micucci.
To listen to the interview, click on the ► icon on the right, just above the picture
Matt Micucci presents the first episode of Big FRED Roma, FRED Film Radio’s English-language daily show with news and thoughts in the 2021 edition of the Rome Film Fest.
Big FRED Roma – October 15, 2021 #RomaFF16 was first posted on October 15, 2021 at 5:05 pm.
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PODCAST |Matt Micucci interviews Sandra Lipski, director of the Evolution Mallorca International Film Festival.
To listen to the interview, click on the ► icon on the right, just above the picture
A conversation with Sandra Lipski, founder/director of the Evolution Mallorca International Film Festival, the landmark 10th anniversary of which will take place from the 27th of October to the 2nd of November. In this interview, Lipski talks about the history and mission statement of the festival and talks about some of the highlights of this year’s edition, including films from different parts of the world and an honorary award to the great Wim Wenders.
To discover more about the Evolution Mallorca International Film Festival, click here.
Sandra Lipski – Evolution Mallorca International Film Festival #EMIFF21 was first posted on October 12, 2021 at 4:04 pm.
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PODCAST | Welcome to FRED Film Radio’s new weekly show, Big FRED Tuesday – your weekly round-up of all things related to cinema, featuring news from the world of film and interviews with various international guests.
To listen to the interview, click on the ► icon on the right, just above the picture
In this episode:
– David Martos stops by to share his thoughts on the recent Venice Film Festival and San Sebastiàn Film Festival;
– A chat about the upcoming Evolution Mallorca International Film Festival with its founder and director, Sandra Lipski;
– Winners at the recent Zurich and San sebastiàn film festivals.
– This week’s Popcorn Classic: John Huston’s The Asphalt Jungle from 1950.
Big FRED Tuesday – Weekly Show – 12th October 2021 was first posted on October 12, 2021 at 10:36 am.
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PODCAST |Matt Micucci interviews David Bartlett, director of the film Mousie.
To listen to the interview, click on the ► icon on the right, just above the picture
A conversation with David Bartlett, director of the short film Mousie, which has been screening at various film festivals throughout the year. Eligible to be considered for an Academy Award, the film tells the story of a 7-year-old Roma girl hiding from the Nazis in Berlin in 1936 in an old Weimar Club. In this interview Bartlett talks about some of the major themes of the film, what art means in the face of tyranny and casting the role of the young protagonist of the movie.
Mousie : Berlin 1936. Hitler will soon host the Olympics, and the streets are being “cleansed” of Jews and Romani “Gypsies”. A seven-year-old Roma girl – Hélène – hides in an old Weimar Club, concealed by dancer Katharina who plans to escape Nazism and take the girl to America. Hélène won’t rest. Sneaking about, the little mouse sees everything – including the arrival of SS Hauptführer Otto, an awkward army conscript. Clumsily making a pass at Katharina, the junior officer is inches away from discovering the little mouse. Decisions have to be made fast, and only the child’s extraordinary and virtuosic ingenuity will save her now.
David Bartlett – Mousie was first posted on October 9, 2021 at 9:53 am.
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PODCAST |Matt Micucci interviews David Uzsák, actor of the film Kryštof.
To listen to the interview, click on the ► icon on the right, just above the picture
A conversation with David Uzsák, actor of Zdeněk Jiráský’s feature film Kryštof, that recently premiered at the 2021 Febiofest in Prague, Czech Republic. The film is set in the harshest Stalinish years in Czechoslovakia and the people involved in the illegal transfer of people fleeing to Germany. In this interview, Uzsák talks about working on the film, which also happens to have been his first major role in a movie. He also shares what he likes about both working in the theatre and film and tells us about his journey to becoming an actor.
Kryštof : Czechoslovakia in the era of the harshest Stalinism. Young Kryštof lives as a fresh postulant in a community of monks. In addition to silent prayers, he is also involved in the illegal transfer of people fleeing to Germany. During one of the events, he witnesses a brutal police crackdown on the students and decides to help them. He has no idea that Operation K is underway to destroy the male religious orders. This timeless drama from a tense time follows one man’s struggle for life and dignity.
David Uzsák – Kryštof #Febiofest was first posted on October 9, 2021 at 9:38 am.
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PODCAST | Welcome to FRED Film Radio’s new weekly show, Big FRED Tuesday – your weekly round-up of all things related to cinema, featuring news from the world of film and interviews with various international guests.
To listen to the interview, click on the ► icon on the right, just above the picture
In this episode: – David Bartlett talks about his short film Mousie, eligible for an Academy Award; – Our #Venezia78 interview with Lifetime Achievement Award Winner Jamie Lee Curtis; – Actor David Uzsàk talks about working on Zdeněk Jiráský’s feature film Kryštof, that recently premiered at the 2021 Fabiofest; – Our #PopcornClassic this week: Diamonds of the Night by Jan Němec from 1964.
Big FRED Tuesday – Weekly Show – 5th October 2021 was first posted on October 5, 2021 at 2:25 pm.
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PODCAST | Angelo Acerbi interviews Paul Golini and Cristiano De Robertis, president and artistic director of the Italian Contemporary Film Festival.
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Paul Golini and Cristiano De Robertis are respectively president and artistic director of the Italian Contemporary Film Festival, a mammoth Canadian event dedicated to Italian cinema and culture: they tell us about it in this interview with Angelo Acerbi.
Paul Golini, Cristiano De Robertis – Italian Contemporary Film Festival #Venezia78 was first posted on October 1, 2021 at 9:50 am.
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PODCAST | Welcome to FRED Film Radio’s new weekly show, Big FRED Tuesday – your weekly round-up of all things related to cinema, featuring news from the world of film and interviews with various international guests.
To listen to the interview, click on the ► icon on the right, just above the picture
In this episode:
– A chat about this years’s BFI London Film FEstival with programmers Michael Blyth and Rowan Woods; – RE:VOIR’s Pip Chodorov talks about a new DVD/Blu Ray combo set of restored works by experimental filmmaker Robert Kramer; – #Venezia78 interview with Pablo Larraín, Kristen Stewart and Rebecca Ferguson; – This week’s #PopcornClassic: Douglas Sirk’s 1955 movie, All That Heaven Allows, starring Rock Hudson and Jane Wyman.
Big FRED Tuesday – Weekly Show – 28st September 2021 was first posted on September 28, 2021 at 11:00 am.
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PODCAST | Angelo Acerbi interviews Deirdre Lyons and Stephen Butchko, producers of the VR film Welcome To Respite.
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Deidre Lyons and Stephen Butchko are the producers ( and performers) of Welcome to Respite, a VR film and adaptation of an immersive stage play experience, where the viewer is brought back to the feelings he had as a kid. We talked about this and a bout the state of the art of VR.
Welcome to Respite: Welcome to Respite is a VR adaptation of CoAct Productions’ award-winning immersive theatre show, The Severance Theory: Welcome to Respite. The original production, which took place in August 2019, was released as the first chapter of The Severance Theory series. Inspired by the true stories of people living with Dissociative Identity Disorder (DID), Welcome to Respite is a fully interactive experience that allows you to step into the shoes of Alex, the main character and host of the Personality System.
Deirdre Lyons, Stephen Butchko – Welcome To Respite #Venezia78 was first posted on September 27, 2021 at 3:41 pm.
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PODCAST | Angelo Acerbi interviews Armondo Lucas Acosta, director of the short film The Living Tableau.
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Armondo Lucas Acosta brings to life on the big screen the last Supper by Da Vinci as a living tableau, with astounding visuals and incomparable aesthetics. He tells us about it, as the introduction of his next feature, with the collaboration of great names of Italian cinema as well.
The Living Tableau: From one of the world’s masterpieces – Leonardo da Vinci’s Last Supper – “The Last Supper: The Living Tableau” comes to life, a nine-minute tableau vivant created and filmed in detail by the director / creator Armondo Linus Acosta with the winning Italian collaborators of the Oscar winner Vittorio Storaro (cinematography) and Dante Ferretti and Francesca Lo Schiavo (scenography and scenic decoration). This short film is a masterpiece of beauty, love and culture that becomes, in this precise historical moment, a message of hope for all.
Armondo Lucas Acosta – The Living Tableau #Venezia78 was first posted on September 27, 2021 at 3:14 pm.
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PODCAST | Angelo Acerbi interviews Allison McGourty, screenwriter of the film Becoming Led Zeppelin.
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Allison McGourty, screenwriter of Becoming Led Zeppelin, presented out of competition in Venice brings us through the creative and research process that lead to the film. Finding the original footage of the 60’s Led Zeppelin was not easy, she tells, and arranging a narrative on all the material they gather wasn’t either.
Becoming Led Zeppelin : It is a film that no one thought could ever be made. The band’s meteoric rise to stardom was swift and virtually undocumented. With unparalleled access to the group and their personal archives, their full support and never-before-seen footage, Becoming Led Zeppelin will immerse you in the sights and sounds of their early career. For all the millions of people who will never see the band live, this is as close as you will get to being there. Before the stairway and the dragon, before the gold and the girls, there were simply four men and their love of music. Becoming Led Zeppelin reveals their individual journeys as they move through the music scene of the 1960’s, playing small clubs throughout Britain and performing on some of the biggest hits of the era, until their meeting in the summer of 1968 for a rehearsal that changes their lives forever. Their four journeys merge into one as they set out to conquer America on a rollercoaster ride that culminates in 1970 when they become the number one band in the world.
Allison McGourty – Becoming Led Zeppelin #Venezia78 was first posted on September 27, 2021 at 11:11 am.
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PODCAST | Angelo Acerbi interviews Alexander Rodnyansky, producer of the film Mama, I’m Home.
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Alexander Rodnyamsky has a long list of films in his producer history. He talks with Fred Radio about what lead him to his last film, Mama I’M Home by Vladimir Bitokov and about the role of a producer and how it changed in the last years. He still follows his mission to scout and find new voices to bring to the light.
Mama, I’m Home : Tonya is a bus-driver in a village on the outskirts of Nalchik, a modest city in the republic of Kabardino-Balkaria. Together with her daughter, Tonya is eagerly awaiting the return of her only son, who is fighting for a Russian private military contractor in Syria. When Tonya is told that he has been killed in action, she refuses to believe it. She is sure that there was a mistake and her son is alive. She begins a grueling public battle with the contractor and the authorities, demanding the return of her son. When it becomes obvious that all efforts to silence Tonya are fruitless, a strange young man arrives on her doorstep…
Alexander Rodnyansky – Mama, I’m Home #Venezia78 was first posted on September 24, 2021 at 4:56 pm.
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PODCAST | Angelo Acerbi interviews Vladimir Bitokov, director of the film Mama, I’m Home.
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Valdimir Bitokov with his film Mama I’m Home brings at the Venice festival a strong story of a woman who defies the power of the military to find te body of his son, presumably dead at war. This is based , as he tells us, on several real story e collected and then mix in this fictional character, splendidly played by Ksenia Rappaport.
Mama, I’m Home : Tonya is a bus-driver in a village on the outskirts of Nalchik, a modest city in the republic of Kabardino-Balkaria. Together with her daughter, Tonya is eagerly awaiting the return of her only son, who is fighting for a Russian private military contractor in Syria. When Tonya is told that he has been killed in action, she refuses to believe it. She is sure that there was a mistake and her son is alive. She begins a grueling public battle with the contractor and the authorities, demanding the return of her son. When it becomes obvious that all efforts to silence Tonya are fruitless, a strange young man arrives on her doorstep…
Vladimir Bitokov – Mama, I’m Home #Venezia78 was first posted on September 24, 2021 at 9:42 am.
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PODCAST | Angelo Acerbi interviews Nicole Holofcener, screenwiter of the film The Last Duel.
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Nicole Holofcener wrote The Last Duel by Ridley Scott together with matta Damon and Ben Affleck. Taken from a book, the story of a woman who first in history , in the 13th century, wanted to speak out about being raped. A feminist film narrated from three points of view and an historical accuracy and richness that only Ridley Scott can provide.
The Last Duel: A gripping tale of betrayal and vengeance set against the brutality of 14th century France. The historical epic is a cinematic and thought-provoking drama that explores the ubiquitous power of men, the frailty of justice and the strength and courage of one woman willing to stand alone in the service of truth. Based on actual events, the film unravels long-held assumptions about France’s last sanctioned duel between Jean de Carrouges and Jacques Le Gris, two friends turned bitter rivals. When Carrouges’ wife, Marguerite, is viciously assaulted by Le Gris, a charge he denies, she refuses to stay silent, stepping forward to accuse her attacker, an act of bravery and defiance that puts her life in jeopardy. The ensuing trial by combat, a grueling duel to the death, places the fate of all three in God’s hands.
Nicole Holofcener – The Last Duel #Venezia78 was first posted on September 24, 2021 at 9:23 am.
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PODCAST | Angelo Acerbi interviews Alessandra Speciale and Ahmed Yassin Al Daradji, director and winner of Final Cut in Venice.
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Alessandra Speciale, head fo Final Cut in Venice, explains what the programme is about and introduces Ahmed Yassin Al Daradji, the director of Hanging Gardens, the Iraqui movie that won the 2021 edition. And Ahmed has a lot to say on the story, on shooting in Iraq and on how the Iraqui film industry was freezed for decades.
Alessandra Speciale, Ahmed Yassin Al Daradji – Final Cut in Venice #Venezia78 was first posted on September 24, 2021 at 9:15 am.
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PODCAST | Angelo Acerbi interviews Pascal Diot, director of the Venice Production Bridge.
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Pascal Dot, director of the Venice Production Bridge, gives Fred Radio the usual overview of the 2021 edition, with figures and feedbacks from the professionals who attended, always in a growing number and with positive reactions.
Pascal Diot – Venice Production Bridge #Venezia78 was first posted on September 24, 2021 at 8:41 am.
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PODCAST | Welcome to FRED Film Radio’s new weekly show, Big FRED Tuesday – your weekly round-up of all things related to cinema, featuring news from the world of film and interviews with various international guests.
To listen to the interview, click on the ► icon on the right, just above the picture
In this episode:
– The main winners at the 2021 Venice Film Festival;
– A chat about the 17th Zurich Film Festival with its Artistic Director Christian Jungen;
– Venezia 78 interviews with Edgar Wright, Maggie Gyllenhall and Tiffany Haddish;
– Remembering Norm Macdonald — this week’s #PopcornClassic is Dirty Work from 1998.
Big FRED Tuesday – Weekly Show – 21st September 2021 was first posted on September 21, 2021 at 12:51 am.
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PODCAST |Matt Micucci interviews Ioseb “Soso” Bliadze, director of the film Otar’s Death.
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A conversation with Ioseb “Soso” Bliadze, director of Otar’s Death, from the East of the West Competition of the 2021 Karlovy Vary International Film Festival. A drama of parallel lives and a pivotal, tragic and unexpected event, the film marks Bliadze’s feature directorial debut. In this conversation, Bliadze talks about the real life events that inspired the fictional movie and the Georgian cultural context that is the backdrop of Otar’s Death. In addition to talking about his film, Bliadze also talks about showing solidarity in support for LGBTQ+ rights in Georgia at the KVIFF.
Otar’s Death : Two families, each facing its own existential difficulties, are brought together by an unfortunate event. For one family, the accident has a fatal impact; for the other, it becomes an opportunity for a better life. The film’s careful exploration of all the participants’ perspectives culminates in a meditation on human morals while not shying away from a tragicomic tone.
Ioseb “Soso” Bliadze – Otar’s Death #KVIFF2021 was first posted on September 17, 2021 at 5:50 pm.
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PODCAST |Matt Micucci interviews Glen Bay Grant, director of the film True Mirror.
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A conversation with director Glen Bay Grant, part of this year’s Future Frames line-up. Future Frames is a showcase of young promising European directors organized by the European Film Promotion in collaboration with the Karlovy Vary International Film Festival. The film directed by Glen Bay Grant that will be screened as part of this program in Karlovy Vary is titled True Mirror.
True Mirror : Jacqueline works as a relationship coach and she’s used to having everything under control. Including her course participants, her son and herself. One day, however, her carefully constructed world starts to collapse when her son tells her he wants to become independent. Jacqueline now has to confront her own personal integrity and decide whether it stems from the loyalty of others or from a healthy self-confidence…
Glen Bay Grant – True Mirror #KVIFF2021 was first posted on September 17, 2021 at 5:38 pm.
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PODCAST | David Martos interviews Ricky d’Ambrose, director of the film The Cathedral.
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Ricky d’Ambrose, director of The Cathedral, talks to FRED about his joining to the Biennale College Cinema project, and how the plot of The Cathedral has kept seducting him since he was a child.
The Cathedral: An only child’s meditative, impressionistic account of an American family’s rise and fall over two decades.
Ricky d’Ambrose – The Cathedral #Venezia78 was first posted on September 17, 2021 at 5:22 pm.
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PODCAST | Angelo Acerbi interviews Matt Damon and Jodie Comer, actors of the film The Last Duel.
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Matt Damon and Jodie Comer talk with Angelo Acerbi about The Last Duel by Ridley Scott. Jodie is the heroine, an unusual, for those ages, woman who wants to be heard and seeks revenge, Matt is her husband, a knight for the king – and also one of the screenwriter of the film, with many backstories that he shares with us.
The Last Duel: A gripping tale of betrayal and vengeance set against the brutality of 14th century France. The historical epic is a cinematic and thought-provoking drama that explores the ubiquitous power of men, the frailty of justice and the strength and courage of one woman willing to stand alone in the service of truth. Based on actual events, the film unravels long-held assumptions about France’s last sanctioned duel between Jean de Carrouges and Jacques Le Gris, two friends turned bitter rivals. When Carrouges’ wife, Marguerite, is viciously assaulted by Le Gris, a charge he denies, she refuses to stay silent, stepping forward to accuse her attacker, an act of bravery and defiance that puts her life in jeopardy. The ensuing trial by combat, a grueling duel to the death, places the fate of all three in God’s hands.
Matt Damon, Jodie Comer – The Last Duel #Venezia78 was first posted on September 17, 2021 at 12:59 pm.
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PODCAST | Angelo Acerbi interviews Natasha Merkulova and Alexey Chupov, directors of the film Captain Volkonogov Escaped.
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Natasha Merkulova and Alexey Chupov give with their film Captain Volkonogov Escaped a feast for the yes, a strong political statement, and a fast paced and entertaining vision of the power. A film about moral, redemption and self-consciousness, wrapped in a hyper-pop fun paper, to enjoy thoroughly.
Captain Volkonogov Escaped: Captain Fedor Volkonogov is part of the law enforcement system. He is appreciated by the commander and respected by colleagues. But the moment comes for Captain’s life to take the abrupt turn—he is criminally charged. Captain manages to escape prior to the arrest turning in a split of the second into prey hunted down by ex-colleagues. At night Fedor receives the warning from the afterlife that he is destined for Hell and eternal torments. Though Captain still has a chance to change the destiny and be accepted to Heaven under condition that he repents and at least one person grants him sincere forgiveness. Fedor sets on a mission to find absolution having no idea of the trials he is to face on this route.
Natasha Merkulova, Alexey Chupov – Captain Volkonogov Escaped #Venezia78 was first posted on September 17, 2021 at 12:28 pm.
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PODCAST | Angelo Acerbi interviews Jamie Lee Curtis.
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Meet Jamie Lee Curtis is an iconic actress with a gigantic career that spanned in all genre, with pivotal films in each one of them: Halloween, A fish Called Wanda, True Lies and so on. She talks about the surprise of being in Venice and recalls some of the behind the scene of her most famous scenes ( like True Lies hotel room scene, remember?)
Jamie Lee Curtis – Golden Lion Lifetime Achievement Award #Venezia78 was first posted on September 17, 2021 at 11:43 am.
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PODCAST | Matt Micucci interviews Potsy Ponciroli and Tim Blake Nelson, director and actor of the film Old Henry.
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A conversation with Potsy Ponciroli and Tim Blake Nelson, respectively director and lead actor of Old Henry, screened out of competition at the 78th Venice Film Festival. This film is a western with a modernist touch and we ask whether Blake Nelson likes to inhabit this space and whether, like the character he plays in Old Henry, he has ever wanted escape into the wild. We ask Ponciroli about his movie, which he also scripted, and whether he believes that the western is particularly apt to the tumult of contemporary times.
Old Henry: is an action western about a widowed farmer and his son who warily take in a mysterious, injured man with a satchel of cash. When a posse of men claiming to be the law come for the money, the farmer must decide who to trust. Defending a siege of his homestead, the farmer reveals a talent for gun-slinging that surprises everyone calling his true identity into question.
Potsy Ponciroli, Tim Blake Nelson – Old Henry #Venezia78 was first posted on September 16, 2021 at 9:44 pm.
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PODCAST | Matt Micucci interviews Joaquín Del Paso, director of the film The Hole in the Fence.
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A conversation with Joaquín Del Paso, director of The Hole in the Fence, presented in the Orizzonti section of the 78th Venice Film Festival. The film follows first-year students of an elitist religious school in a sinister integration camp outside the city, and a mystery revolving around a hole in the fence. In this interview, Del Paso talks about the personal experiences that served as the inspiration for this movie, working with his cast to achieve the right kind of synergy and more.
The Hole in the Fence: The first-year students of an elitist religious school attend an integration camp outside the city. The tranquility is soon dissolved when a violent hole is found in the perimeter fence. This event creates a chain of mysterious incidents that will reveal a system created by the tutors to inject a fundamentalist view in the teenager’s minds.
Joaquín Del Paso – The Hole in the Fence #Venezia78 was first posted on September 16, 2021 at 9:23 pm.
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PODCAST | Angelo Acerbi interviews Pascal Diot, director of Venice Production Bridge.
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Pascal Diot talks about the ten years anniversary of Venice Production Bridge, going through the sections , the changes and the modifications that the pandemic years forced upon the event.
Pascal Diot – Venice Production Bridge #Venezia78 was first posted on September 16, 2021 at 9:09 pm.
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PODCAST | Ilaria Gomarasca interviews Ola Jankowska, director of the film Anatomia.
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“To me Anatomy is above all a meditation on the ambiguous space between things and people being and not being. It’s a story of potential alternative lives, ghosts and phantom feelings that don’t know how to be born and yet overwhelm – of love, loss, uncertainty.” Ola Jankowska on her first feature film Anatomia screened at Venice Giornate degli Autori 2021.
Anatomia: Mika arrives in Poland to pay a hospital visit to her father, who is suffering from severe brain injury and memory loss. It’s the first time they have met in many years, yet her father thinks they still live together and she’s a teenager. For a brief time Mika becomes her father’s companion in perplexity – gently guiding him through the labyrinth of his fading mind. And as she does so, she sets off on a journey through her own life. By merging digital, 35 mm, VHS, infrared and archival footage, the sense of time and space start breaking up: the present blends with the long gone past and places reveal their far-off history and memories. In the meantime, the father’s condition worsens. And thus life and its end also begin to blur.
Ola Jankowska – Anatomia #Giornate2021 was first posted on September 15, 2021 at 4:10 pm.
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PODCAST | Nicolò Comotti interviews Loup Bureau, director of the film Trenches.
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Loup Bureau joins us at our Venice studios to talk about his latest documentary Trenches, for which he spent months on the ground documenting Ukrainian soldiers fighting Russian-backed separatists, capturing life and the ever looming presence of death.
Trenches: In Donbas Ukraine, while precarious truces and ceasefires are negotiated far away by diplomats, Ukrainian soldiers fight against separatists supported by Russia. At an age when some are experiencing the best years of their lives, in the frontline men and women are fighting, condemned to dig and dig up again the trenches, while bombs keep on falling on them. Loup Bureau takes us on an immersive and stunning cinematic journey revealing the naked truth and roughness of survival, in what is called to be the last conflict on European soil.
Loup Bureau – Trenches #Venezia78 was first posted on September 15, 2021 at 3:49 pm.
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