FRED Film Radio - English Channel

At the 65th Festival dei Popoli in Florence, Ben Rivers, director of the documentary "Bogancloch", shared insights into his work and the inspirations that shaped it. Rivers expressed his excitement about presenting the film at the festival, marking his first experience sharing a personal project in such a prestigious setting. Rivers discussed the symbolism of the Trabucco, which he portrays almost as a character within the film. This complex, wooden structure—entirely devoid of electricity—requires continual care and attention. He emphasized that the Trabucco is more than just a fishing device; it represents a bond between humans and nature, with its meticulous upkeep reflecting the commitment of those who rely on it and a tradition deeply rooted in respect for natural elements. In capturing the flow of daily life, Ben Rivers sought to tell a story that invites viewers to contemplate the delicate balance between solitude and the human experience within nature. His time with the characters allowed him to immerse himself in their world, capturing their lives with an authenticity that comes through vividly in the film. Ben Rivers shared that, while exploring the essence of isolation, his intent was not to romanticize it. Instead, he aimed to portray the complexities of living in seclusion, noting that while solitude can foster a profound connection to nature, it also brings loneliness and detachment from society. He emphasized his observational documentary style, noting the importance of letting the characters’ subjectivity shine. The film offers a nuanced view of their lives, encouraging the audience to engage with their experiences rather than offering a one-dimensional portrayal. This approach fosters a deeper understanding of the characters' reality. The conversation also touched on the broader implications of the film, particularly concerning contemporary issues of isolation. Rivers expressed his hope that "Bogancloch" resonates with viewers who may grapple with similar feelings in today’s fast-paced world. By blending themes of solitude with the beauty of the Scottish Highlands, he aims to inspire reflection on the human condition and the quest for connection. In sum, "Bogancloch" serves as a thoughtful exploration of isolation and the relationship between people and nature. Through Rivers’ lens, audiences are invited to reflect on the significance of these themes while immersing themselves in the beauty of the landscapes and the depth of the characters’ lives.

At the 24FRAME Future Film Festival, “The Peasants”, directed by Hugh Welchman and Dorota Kobiela Welchman, opened the competition, immersing viewers in the life of a Polish village in the late 19th century. This visually captivating film follows Jagna, a young woman who defies the restrictive norms of her community, with her beauty and independent spirit sparking jealousy and conflict. The Inspiration Behind Adapting The Peasants When asked about the inspiration for adapting the Nobel Prize-winning novel, Hugh Welchman explained that his wife and co-director Dorota Kobiela had read “The Peasants” as a teenager. Later, while painting for “Loving Vincent”, she revisited the story, finding that “the language was like someone describing a painting to you,” Welchman recalled. This poetic imagery inspired them to create a fully oil-painted animation, the second of its kind after Loving Vincent. Crafting an Oil-Painted Masterpiece Creating an oil-painted film is a labour-intensive process, as Welchman explained: “The average frame on “Loving Vincent” took two and a half hours; for The Peasants, it took five.” With a narrative that includes dance scenes, battles, and large village gatherings, the film required intricate, painstaking work. Welchman also highlighted the connection to the 19th-century realism movement: “The realism style was more difficult than the thick, impasto brush strokes of Van Gogh’s style,” but it perfectly captured the rural, pastoral setting. Reflecting Social Issues and Timeless Themes “The Peasants” addresses contemporary societal themes, like the societal pressure on women to conform. Hugh Welchman remarked, “There’s a timelessness in how societies often scapegoat those who don’t conform, and unfortunately, this is often women.” The film explores this dynamic through Jagna’s struggles, highlighting that while decades may have passed, the issues of patriarchal oppression and violence against women persist. Nature as Both Setting and Symbol Nature, represented through changing seasons, plays a dual role in“The Peasants”as both a backdrop and a place of refuge for Jagna. “The cyclical nature of life is ever-present…while human dramas unfold, the seasons keep turning,” Welchman observed. Nature offers Jagna moments of respite from the village’s scrutiny and control, reflecting her deep-seated yearning for freedom. In Welchman’s words, “She naturally feels that society should be different from how it is…and nature becomes her escape.” A Stunning Cinematic Experience The intricate oil-painted visuals and nuanced storytelling make The Peasants an unforgettable cinematic experience. As Welchman said, “The Peasants” captures “all of the human emotions in one story—love, passion, jealousy, and conflict,” presenting a poignant reflection on human resilience and the cyclical nature of life.

The 24th already successful edition of Trieste Science+ Fiction Festival is reaching its end and Artistic Director Alan Jones has already many ideas for the 25th. That’s how fast the creative and fantastic minds working at the Festival elaborate and program. With AI being the main theme explored by the Festival through its events and more than 50 world, international and italian premieres, TS+F invited its audience to Brainstorm the MegaFuture with a diverse selection of hand-picked titles to provoke, amuse, shock, compel and entertain. We might be heading towards a fourth industrial revolution, as the Festival poster designed by ZeroCalcare suggests but according to Alan Jones, we must not fear Artificial intelligence. “AI for me is just another tool for creatives to use”. Science Fiction is the right genre to tackle big and important topics such as, besides AI, climate change. At the beginning of this 24th edition Alan Jones said and wrote: “From the rise of the machines and the fears surrounding AI to the threats of climate change and alien invasion in not just its extraterrestrial forms, the Trieste Science+Fiction Festival 2024 deliberately covers every hot button topic concerning humanity at this precise time in all our uncertain lives”. The 24th Trieste Science + Fiction Festival kept all its promises and the audience massively responded.

After years and years thinking about directing, Spanish actress Paz Vega has finally made her dream come true. "Rita", her directorial debut, is indeed premiering in Spanish cinemas and landing in Alice nella Città, Rome, for its italian premiere. Set in the summer of 1984, the film focuses on a 7 years old girl, Rita and her look on her family, her parents’ violent relationship, people surrounding her. Vega’s idea from the beginning was to tackle domestic violence but her angle has always been to focus on it from the children’s point of view. “I decided to focus on the children to show how this violence affect them” she tells us. In her director’s notes, the actress turned director declares that this film is her personal love letter to the bravery of innocence. After traveling with this film, from the world premiere in Locarno to Rome, Paz Vega is particularly happy that, by screening Rita at Alice, she will directly be in touch with an audience made of young adults, the most important recipients of this film.

At this year's Alice nella Città, we speak with Lisa Brühlmann, the director, screenwriter, and actress behind the film "When We Were Sisters". Set in the nostalgic 90s, the movie explores the complex dynamics of a patchwork family on their first vacation together. “It’s a story about friendship and how sometimes, friendship can be more important than family,” Lisa shared during our conversation. A Love Letter to Friendship and Resilience When asked about the inspiration behind her film, Lisa Brühlmann emphasized the significance of resilience and the bonds we share with our friends. “It’s almost a love letter to my friends,” she explained. This sentiment resonates deeply within the film, highlighting how pivotal friendships can be during our formative years. Understanding Fragility in Characters In discussing the characters, Lisa noted the importance of portraying each individual's fragility. “No one is the bad one,” she stated. “Every character has their own drama.” She plays Monica, the mother, whose struggles and imperfections make her relatable. “Being a mother myself, I understand how hard it is to meet high standards of what makes a good mom,” she reflected. The Symbolism of Prison and Freedom A recurring motif in the film is the concept of prison, both physical and emotional. Lisa Brühlmann explained, “Valenska is in the prison of the reality that the mother built.” The film beautifully portrays how the characters grapple with guilt and expectations, inviting the audience to empathize with their journeys. Navigating Between Directing and Acting As both director and actress, Lisa Brühlmann shared the challenges of embodying a troubled character while managing the film's vision. “It was exhausting to get into Monica's mindset,” she admitted, “but it was a relief to switch back to being the director.” This dual perspective adds depth to her performance, making her portrayal of Monica both authentic and poignant. Reflecting on the 90s Experience Set in 1996, "When We Were Sisters" captures the essence of a time before smartphones and social media. Lisa Brühlmann expressed that the isolation of the 90s made the characters’ emotional journeys feel more profound. “In a toxic relationship, you feel more isolated,” she noted, highlighting the contrast between past and present dynamics. A Message for Young Audiences Ultimately, Lisa Brühlmann hopes viewers will take away a sense of connection and understanding from her film. “I hope you feel the power of friendship, resilience, and love,” she concluded. “Sometimes, friendship can be stronger than family.”

Fred Film Radio interviews "Julie Keeps Quiet" actresses Tessa Van den Broeck and Grace Biot at Alice nella Città. In this exclusive conversation, the two stars delve into the emotional depths of their characters and share insights on portraying themes of silence, resilience, and personal growth. Premiered at Cannes, this compelling film now competes at Alice nella Città, continuing its journey through international festivals. The Characters: Julie and Lore’s Silent Strength Van den Broeck, who portrays Julie, a 15-year-old tennis player, describes her character as “introverted, closer to herself and reluctant to open up to others.” She explains that Julie faces a profound challenge when her coach is suspended. This event becomes central to Julie’s silence as she struggles to process what happened. Grace Biot, who plays Laure, describes her role as one of quiet support. “Laure doesn’t always have to talk—just being there is enough to create a bond,” says Biot, reflecting on the importance of presence over words. Their connection on screen was built through extensive rehearsals, allowing them to “understand what Leonardo [Van Dijl ] wanted from Laure as a supportive figure for Julie,” Biot adds. Behind the Scenes: First-Time Experiences and Bonds on Set Reflecting on their time on set, Van den Broeck shares how she learned to appreciate the intricate details of filmmaking: “It was my first time ever on a set... the sound, the light, the camera. There are like 40 people behind it, and you never think about that if you just watch a movie!” For Biot, the experience of working with a large team and close-knit cast was equally eye-opening. She explains, “Leonardo made us feel so comfortable, and I think that upgraded our performance... from the moment he said ‘action,’ we were in character, but as soon as he said ‘cut,’ we’d go back to having fun together.” Festival Journey and Audience Connection The actresses also share the emotional experience of presenting "Julie Keeps Quiet" at festivals like Cannes and Alice nella Città. “It was the first time we were going to show it to an audience,”  Van den Broeck admits, describing her nervousness. “Everyone was clapping, some even crying... I never imagined we’d go to Cannes, let alone Italy. I thought it’d be a short movie in Belgium with maybe 50, 100 viewers.” Their journey reflects the film’s universal impact, resonating with diverse audiences worldwide. A Message for Young Audiences: Empathy and Understanding What do they hope young viewers take from the film? “I hope young people feel they’re not alone in this. There are others who’ve gone through what Julie has,” Van den Broeck says. Biot adds, “I hope they can reflect on their own silences and maybe open up to someone they trust.” Both actresses highlight that "Julie Keeps Quiet" is a reminder to check in with loved ones and reach out when we sense something might be wrong.

In "Bring Them Down", director Christopher Andrews and actor Colm Meaney delve into themes of isolation, conflict, and the haunting weight of the past. The film follows Michael, the last son of a shepherding family, who finds himself at odds with a rival farmer while struggling with unresolved guilt. The escalating tensions drive both families into an irreversible tragedy, revealing the depths of human resilience and fragility. At the 19th Rome Film Fest, we met with Andrews and Meaney to discuss the inspirations and messages behind this powerful story. The Roots of Conflict: "Why Do Men Start Wars?" When asked, “What does it take to start a war, and why are men so often the ones involved?” both Andrews and Meaney provided compelling insights. According to Christopher Andrews , “Wars are often because of lack of communication, mostly due to a lack of trust... it seems easier to fight than to sit around the table and communicate." Colm Meaney, reflecting on the historical context, added, “Most cultures have been patriarchal, and as a result, men in power cause wars. Personally, I think we’d be better off if we could change that somewhat.” The Impact of Absence: A Story Shaped by Loss and Isolation The absence of female figures deeply affects the characters of "Bring Them Down", both emotionally and psychologically. The story explores how the absence of a mother or wife influences the emotional lives of men left behind. “My father died when I was nine, and even though he’s not there, his presence loomed large over my life,” Andrews shared, noting the power of absent figures in shaping one’s life choices and values. Meaney emphasized, "The community in the film is one where women often leave, and men are left struggling to adapt." A First-Time Director and a Talented Cast "Bring Them Down" marks Andrews’ debut as a feature film director. He expressed gratitude for working with a cast of such calibre, including Meaney, Christopher Abbott and Barry Keoghan, stating, “It was a privilege… and the learning curve of watching their collaboration was invaluable.” Andrews approached the collaboration as an opportunity to support the actors, “giving them the space to perform and interact… building trust, knowing they would be happy with what they’re bringing to the film.”

Fred Film Radio had the pleasure of speaking with Jasmin Gordon, director of "The Courageous", and actress Ophelia Kolb at Alice nella Città. They discussed their collaboration on this intense, character-driven film that challenges stereotypes of single mothers and asks audiences to embrace nuanced, imperfect characters. "The Courageous" is a story about a single mother who lives a kind of double life... trying to be the best mother she can, while also wrestling with her criminal past,” Gordon describes. This tension in the lead character, Jule, is central to the film’s exploration of morality and resilience. Collaboration on Set: Creating the Complex Character of Jule Kolb and Gordon share how their partnership on set brought depth to Jule. Ophelia Kolb describes her understanding of the character as immediate: “I think I understood Jule very quickly... it was easy to work with Jasmine because we were on the same route, talking the same language.”  Jasmin Gordon ’s directing approach welcomed Ophelia Kolb’s contributions, creating a collaborative and organic working environment. “I don’t have a perfect image of a scene... it’s more about an emotional feeling,” Gordon explains, underscoring her openness to new ideas from her cast. Breaking Stereotypes: Presenting a Multifaceted Portrait of a Mother A significant theme in "The Courageous" is breaking down the societal expectations of mothers. Both Gordon and Kolb drew from their experiences to shape a character who embodies strength without adhering to traditional ideals. “We both have mothers or know women who are complex,” Gordon says, “women who are strong but not in a simplistic way.” Kolb adds, “We know a Jule in our lives, which made it natural to bring that complexity to her.” Their commitment to this authentic portrayal was crucial, they believe, for viewers to understand Jule’s struggles beyond clichés. The Cake Scene: A Moment of Silent Empathy and Sacrifice One particular scene of "The Courageous" resonates deeply with Jasmin Gordon and Ophelia Kolb: the cake scene, where Jule 's love for her children is shown without dialogue. Kolb describes it as the “perfect way to explain her love for her kids without words.” Gordon agrees, explaining that the scene reflects the immense pressure on mothers to achieve an unrealistic ideal. “There’s this pressure to be a ‘supermom’—perfect in every way. She could just tell her kids, ‘Here’s a store-bought cake, I love you,’ but instead, she feels compelled to go further, to maintain that image,” Gordon shares. This subtle yet poignant scene reflects how far Jule will go to protect her image as a “good mother.” Challenging Perspectives: A New Light on Characters Like Jule One of Jasmine Gordon’s goals with "The Courageous" is to inspire empathy for characters like Jule. She wanted to create a lead character who might seem morally ambiguous but whose journey and struggles are relatable. “I really hope this character allows certain people to have more empathy for women on the border of what’s acceptable,” Gordon says. Choosing Kolb for the role was essential to achieving this effect, as Kolb “brings so much lightness and heartwarming energy” that allows audiences to connect with Jule, even in her darkest moments. Defining a Good Mother: Embracing Imperfection Ultimately, we asked Jasmin Gordon and Ophelia Kolb what it means to be a good mother. Both Gordon and Kolb reflect on their views, agreeing that motherhood doesn’t require perfection. “Being perfect isn’t a good thing,” says Gordon. “Kids need to see a mom who’s human, who shows her emotions.” Kolb adds that a good mother “brings love and tries to show that life, though challenging, can have its bright moments.” This message is central to "The Courageous", a film that captures the beauty in imperfection.

Fred Film Radio interviewed Julien Menanteau, director of "Lads", presented in competition at Alice nella Città. With an insightful look into the world of young jockeys and the horse racing industry, "Lads" is a unique perspective on ambition, resilience, and the cost of chasing dreams. A Unique Perspective on the Horse Racing World "Lads"tells the story of Ethan, a young jockey navigating the harsh realities of the horse racing industry. Known for its glamour and high-stakes wins, Menanteau takes us beyond the racetrack’s glitz. He shares, “I really wanted to speak about the people who work in this industry, the young people working with the horses and hoping to have a better future.” For Julien Menanteau, the story is deeply personal. Inspired by directors like Ken Loach and films like The Loneliness of the Long Distance Runner, Menanteau crafted "Lads" as a raw, honest portrayal of the struggles behind the scenes in horse racing. “There is something very intense, almost military, in the way young jockeys live and train. It’s like a jail sometimes, with only one place for those who aspire to become jockeys,” he notes. A Cinematic Journey from Documentary to Fiction Having transitioned from documentary filmmaking, Menanteau’s approach to "Lads" is grounded in authenticity. “I wanted to make a movie that felt real. To achieve that, we shot with real horses, real jockeys, in real racing locations,” he explains. This decision, though challenging, added a genuine touch to the film’s depiction of horse racing. Casting was also essential in Menanteau’s vision for "Lads". The role of Ethan, played by Marco Luraschi, is both demanding and transformative. “Finding someone who could act and race without needing a stuntman was key. Marco’s background and dedication allowed us to keep it real, capturing every movement and emotion as he raced,” Menanteau shares. Exploring Sacrifice and Obsession in Pursuit of Dreams The physical demands on jockeys are intense, reflecting a larger theme of ambition and the sacrifices made in pursuit of success. Menanteau agrees, noting, “In the beginning, Ethan wants a place to grow and excel, but over time, he realizes the cost. By the end, he’s faced with choices that make him question if the industry’s pursuit of success aligns with his values.” The high stakes and relentless pursuit of excellence in horse racing reveal the costs involved. “He dreams of a better future, but as the movie unfolds, he starts questioning whether he's losing a part of his humanity along the way,” Menanteau remarks. A Film Driven by Respect for Horses and the Racing Industry Julien Menanteau also speaks about respecting the animals that make this sport possible. The team prioritized the horses' health during filming. “We had only five minutes per hour to film the horses in action, allowing them 55 minutes of rest. Those five minutes were magical, and we captured everything with multiple cameras ready to go.” "Lads" sheds light on both the beauty and the darker sides of the horse racing industry, delivering a compelling story that questions ambition, loyalty, and compassion. As Menanteau puts it, “At the beginning, there is a dream, but by the end, you see that success comes with a price.”

From Peter Chelsom, the director of Serendipity, a new heartwarming family film, A sudden case of Christmas, premieres at Alice nella Città in Rome. The film, all shot in the glorious italian Dolomites, sees the participation of Danny De Vito, his daughter Lucy and the young Antonella Rose, in the leading role. Rose plays Claire, a 10 year old American girl, who finds out that the only reason she was brought, during summer, at her grandfather’s hotel in The Dolomites, was that he could be the one to tell her about her parents’ splitting up. Danny De Vito, who plays Lawrence, Claire’s grandfather in the film, tells her that she’s a catalyst as she’s a boost for the people surrounding her. With his experience in family films and romantic comedies, Peter Chelsom then tries to define what makes a Christmas movie. Then, he proceeds to explain in which ways, A sudden case of Christmas, in italian ‘Ops!È già Natale’ is an italian film.

-"Reading Lolita in Teheran", based on the best selling book by Azar Nafisi, is premiering at the 19th Rome Film Festival. The film, shot in Rome and directed by Israeli director Eran Riklis, gather together an Iranian-International cast guided by Goldshifteh Farahani and composed by Mina Cavani, Zar Amir, Bahar Beihaghi, Isabella Nefar, Haha Rahbari and Lara Wolf. As it tells the intimate and real story of women in Iran, fighting and surviving the regime with literature and art, this film project was very important and life changing for the whole cast, especially the actresses involved. Farahani with her fellow colleague Mina Kavani, reminds us: “We don’t have a home anymore but as it is also said in the film, we are Iran, we left Iran but Iran never left us and will never leave us”

Director Mareike Engelhardt debuts in competition at Alice nella Città with her bold first feature film "Rabia". The film delves into the disturbing phenomenon of radicalization, confronting the difficult questions surrounding political extremism, manipulation, and gender-based violence. A Tale of Radicalization and Entrapment At the heart of "Rabia"is the story of a young woman who leaves her home to join the jihad in Syria, only to find herself imprisoned in a women’s house. The film is based on real-life events during a significant period of global conflict. Between 2014 and 2017, thousands of young people left their homes to join jihadist groups, and a third of them were women. Engelhardt recalls her astonishment upon learning this: “They were between 14 and 20 years old... that in itself for me was unbelievable.” The Challenge of Researching Extremism Researching such a controversial and sensitive topic might seem daunting, but Mareike Engelhardt found the process surprisingly straightforward. She attributes much of her success to the willingness of the women who returned from Syria to share their stories. “I needed to get in touch with women... they were surprisingly happy to talk to me. So there was a real need of sharing their story,” Engelhardt recounts. The film is constructed from these real-life stories, with nothing in "Rabia" being invented. Additionally, Engelhardt worked closely with journalists who had extensive knowledge of these women, which added further depth and authenticity to the narrative. Portraying a Terrifying Charisma At the centre of Rabia is the character of Madame, portrayed by Lubna Azabal. Madame is a complex and terrifying figure, both charismatic and chilling. Engelhardt and Azabal shared a deep interest in exploring such figures' dark, manipulative personalities. “We share a very deep interest in those kinds of dark characters, those leader characters, which are very intelligent and just as horrible,” Mareike Engelhardt reflects. The character of Madame is based on a real Moroccan woman who orchestrated the system of female domination in Syria, and Azabal had followed this woman’s story for years. Jessica’s Journey from Victim to Perpetrator The film also features a profound character arc in Jessica, a young woman whose transformation from a naive victim to a brutal torturer lies at the heart of "Rabia". Played by Megan Northam, Jessica’s journey symbolizes the insidious power of psychological manipulation. “Why would they go? What are their motivations?” Engelhardt and Northam spent significant time analyzing the psyche of these women, understanding how individuals can be radicalized not through grand political ideas but through intimate relationships and psychological manipulation. A Message for Young Audiences "Rabia" has its international premiere at Alice nella Città, a festival known for its young audience. Mareike Engelhardt hopes her film will resonate with them, encouraging vigilance in the face of extremism. “It’s today more important than ever for young people to realize what it is to be manipulated and radicalized... be it the extreme right-wing or radicalized Islam... binary totalitarian thinking is a constant threat in the world we live in,” she asserts.

From the best seller book by Iranian author Azar Nafisi comes the film "Reading Lolita in Teheran" by Eran Riklis. The film premiered at the 19th Rome Film Fest where it was shot as it is an international co-production. "Reading Lolita in Teheran" brings to cinema life the real and intimate story of women in Iran, fighting the regime with literature, art, trying to save their souls. Along with Azar Nafisi and the entire cast of the film, Israeli director Eran Riklis tells us about the work he did on adapting the book to the big screen as Azar Nafisi’s "Reading Lolita in Teheran", with its depiction of both human relationships and political and global matters, struck a deep emotional chord in him. Azar Nafisi explains that she was desperately trying to survive as her whole world was controlled by the regime. She then found her way to do it: “The only way I could save myself was to write this story as it happened and not as the regime fabricated and that’s what Eran did with the film”.

A Personal Journey through Lebanon's Turmoil In this heartfelt interview, we speak with Myriam El Hajj, the director of "Diaries from Lebanon", during the 15th edition of the Middle East Now festival in Florence. Myriam openly shares her emotions regarding Lebanon’s current situation, expressing deep anger and grief over the ongoing struggles faced by her country. With personal ties to the Lebanese Civil War—her family was heavily involved—Myriam’s storytelling is deeply rooted in her intimate experiences, depicting a society still grappling with the consequences of decades of conflict. She remarks, “This film is a continuation of my journey to understand the past,” underscoring how the trauma of war continues to haunt the everyday lives of individuals and families across Lebanon. Artistic Choices and Emotional Depth in Filmmaking The documentary serves as a powerful reflection on a nation where the echoes of historical violence remain ever-present. Myriam elaborates on the enduring political turmoil, sharing her belief that former warlords still hold sway, further complicating the lives of the Lebanese people. In "Diaries from Lebanon", she uses striking visual metaphors, such as balloons soaring above scenes of destruction. This artistic choice allows her to convey complex emotions and themes without resorting to graphic portrayals of violence. “I wanted to focus on feelings rather than just the destruction,” Myriam explains, emphasizing her intent to capture the emotional depth of her characters and the richness of their stories. Challenging Narratives and Fostering Empathy As she delves into this deeply personal narrative, Myriam El Hajj also aims to challenge the conventional portrayals often presented by international media. By drawing on her own experiences and family history, she highlights the importance of understanding Lebanon’s reality from an insider’s perspective. In her film, she invites the audience to look beyond the sensationalized images of violence commonly shown in the news, offering instead an intimate view of the lives affected by these events. This approach is essential not only for documenting pain but also for fostering empathy and a deeper connection with viewers who may be unfamiliar with the complexities of Lebanon's historical and ongoing struggles. Furthermore, Myriam El Hajj discusses the dual role of filmmakers as both storytellers and activists. The film is not merely a documentation of past events; it actively seeks to educate and inform audiences about Lebanon’s social and political realities. “Our role as filmmakers is to challenge dominant narratives and present our version of the story,” she asserts, acknowledging that many misconceptions, especially in Western media, persist. Her work aims to bridge this gap, offering a nuanced perspective that highlights the resilience of her people amid adversity. Despite the difficulties of screening the film in Lebanon due to the unpredictable political climate, Myriam El Hajj  remains committed to ensuring that these stories reach their intended audience. She expresses hope for local screenings, emphasizing the significance of sharing the film within Lebanon itself, where it reflects four to five years of intense lived experiences. The characters in the film represent the stories of countless individuals whose lives have been shaped by Lebanon’s turbulent history, and it is essential for them to see their experiences represented on screen. In her mission to share "Diaries from Lebanon", Myriam El Hajj demonstrates a profound dedication to amplifying voices that are often silenced. The documentary stands as a testament to the power of film in fostering understanding and sparking dialogue on critical social issues. Learn more about her journey and the impact of "Diaries from Lebanon", and don’t miss the opportunity to witness this compelling cinematic work.

At Alice nella Città, Damian Kocur, the director of "Under the Volcano", shared insights into his film during an interview with FRED Film Radio. The film, which is in competition, follows a Ukrainian family vacationing in Tenerife when the war in Ukraine suddenly breaks out. Stranded due to cancelled flights, the family faces an unsettling contrast between the island paradise and the war-induced refugee crisis back home. A Personal Reflection on Helplessness Kocur explained how the film reflects his feelings during the onset of the war despite not experiencing it firsthand. “I didn’t want to tell a story about the war itself,” Kocur noted. “I don’t have the moral right to talk about war because I didn’t experience it. But I shared the same feelings of helplessness as my characters, being in a safe place when the conflict began.” Balancing Humor and Tragedy "Under the Volcano" portrays the clash between a vacation setting and the devastating consequences of war. Kocur explained the balance of humour and intensity in the film, saying, "Even in tragic moments, funny things happen. This is the craziness of life." He believes humour is an important storytelling tool, even in serious contexts, reflecting life's absurdities in the face of hardship. Working with Non-Professional Actors Damian Kocur also discussed his unique approach to directing, particularly his preference for working with non-professional actors. He believes it creates a more authentic and unpolished performance, stating, “I don’t like films where I can recognize actors from previous roles. It seems more real to me when they are people I don’t know, and they have this ‘un-acting’ quality.” Symbolism and the Volcano The volcano's looming presence in Tenerife is a powerful metaphor in the film, representing both personal and geopolitical tensions. “The volcano may not erupt often, but everyone knows it will one day, just as war can come unexpectedly,” Damian Kocur reflected. The sense of imminent eruption parallels the characters' internal conflicts and the larger political situation. Oscar Nomination and Kocur's Perspective "Under the Volcano" has been nominated as Poland’s candidate for the Oscars, a significant achievement for Kocur. Despite this honour, he modestly commented, “It’s a very slow film, hiding more than it shows. It’s not an Oscar movie, but it’s about important topics in a way Hollywood rarely explores.”

"Milano", directed by Christina Vandekerckhove and starring Matteo Simoni, is in competition at Alice nella Città. The film explores the intricate relationship between a father and his deaf son, tackling themes of resilience, communication, and unconditional love. A Father-Son Struggle "Milano" centres on Alain (played by Matteo Simoni), a father raising his deaf son, Milano, alone. The film’s core is the complex dynamic between them, further challenged when Milano’s biological mother reappears. Christina Vandekerckhove described the film as "a story about resilience, but also about the loyalty of the child towards both parents." She was inspired by real-life conversations with parents while researching a documentary on social housing. "I met a father who hadn't seen his son in years. His helplessness and struggle stayed with me," she shared. Portraying Alain: Emotional Preparation Matteo Simoni took on the challenge of playing Alain, a man haunted by his limitations and past trauma. “Alain deeply wants to give his son a better life, but struggles with his own limitations,” Simoni reflected. Preparing for such a complex role involved meticulous rehearsals and discussions. "We talked a lot about who Alain is, his background, and rehearsed extensively on location. It allowed us to work in a very precise and organic way," Simoni explained. The actor also emphasized how working with Basil Wheatley, the deaf actor playing Milano, added layer of complexity: "You can’t just improvise. We had to stick to the script because Basil had to know the scene by heart." The Wind as a Silent Character A recurring element in "Milano" is the wind, which serves as a metaphorical layer representing the emotional turbulence within the characters. Vandekerckhove sees the wind as a way to express Milano’s unspoken emotions. "For me, the wind and rain are an extra layer that conveys Milano’s feelings without using words or sound. It’s important to me that the audience can feel the wind and the rain as part of the emotional landscape," she explained. Matteo Simoni appreciated this choice, adding that "it makes the film slightly bigger than life, yet still deeply rooted in reality." The wind becomes a poetic device, highlighting the unspoken struggles between Alain and his son. A Universal Tale of Parenthood At its heart, "Milano" is a story of parenthood, resilience, and the responsibility we bear as parents. Vandekerckhove hopes audiences will be moved by Alain and Milano’s journey. "It’s a universal story. I hope people recognize themselves in these characters and are touched by their struggles," she said. Simoni also reflected on the film’s message about raising children with love and patience: "One day, they will rule the world. It’s our task to raise them with care, to listen to what they need."

“We want to live here”, Moldavian actress Alexandrina Turcan’s directorial debut, has been presented at Alice nella Città in Rome. The documentary short film, produced by Sean Penn, is a subtle glimpse in the every day life of kids in Borodyanka, Ukraine. Turcan reveals that she had one simple goal with her film: to witness the impact of war with her own eyes. She knew it wasn’t the destroyed buildings or the constant bombings that would terrify her, but the people. While walking through the deserted playgrounds of the city, she found a group of boys. Earning their trust, which took gentleness, patience, and time, she got to portray them in her film. The stories of Volodymir, Vitalyi, and Matviy are windows into the hearts and minds of Ukraine’s youngest survivors. Alexandrina Turcan talks about the strength of the Ukrainian spirit that she found and delved into with the film. Sean Penn got on board as a producer after watching her work and that’s how Turcan’s career as director begun.

Fred Film Radio had the pleasure of sitting down with Yasemin Şamdereli, co-director with Deka Mohamed Osman of “Non Dirmi Che Hai Paura“, in competition at Alice nella Città. The film tells the inspiring yet tragic story of Samia Youssef Omar, a young Somali girl who escaped war-torn Mogadishu to follow her dream of competing in the 2008 Olympics in Beijing. Şamdereli’s film masterfully balances Samia’s journey between the highs of her Olympic aspirations and the devastating realities she faced. A Human Story of Dreams and Tragedy Şamdereli emphasizes the universal nature of Samia’s story, drawing attention to her focus on portraying a “Non Dirmi Che Hai Paura” to whom audiences can relate. “The only difference between us and Samia is where we were born. Some are lucky enough to be born in a safe country, while others like Samia face political turmoil,” she explained. Through this lens, “Non Dirmi Che Hai Paura” highlights the resilience of individuals like Samia, who strive to make the best out of difficult circumstances. Family as a Source of Strength Family plays a central role in Samia’s life and the film. Şamdereli delves into how Samia’s father, her biggest supporter, and her relationships with her sister and friends shaped her journey. “There are many Muslim families, like Samia’s, who support their daughters in chasing their dreams. We often only see one side of the story, but there are so many who empower their children,” Yasemin Şamdereli remarked. This theme, she says, was crucial to portraying a more balanced view of Muslim families. A Message to Carry Home Yasemin Şamdereli hopes that audiences will leave the film with Samia’s story in their hearts, recognizing the universal human experience behind it. “It’s about seeing the human side of every person, no matter where they come from or what they’ve gone through,” she reflected. Through “Non Dirmi Che Hai Paura“, Şamdereli offers a heartfelt tribute to Samia’s courage and the importance of understanding and empathy.

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 talent to look out for. We discuss the emphasis on a diverse range of talent and voices being given a platform, particularly one that reflects the multiculturalism of London itself, and some of the top titles showing, from Jacques Audiard's "Emilia Perez" to Sean Baker's "Anora" to opening movie, Steve McQueen's "Blitz". We also hear about other elements of the programme such as LFF for Free and LFF expanded, which add to the richness and variety of the festival, with a focus on accessibility and inclusivity.

After the successful screenings at the San Sebastian Film Festival, Edward Berger brings his new film "Conclave" at the 20th Zurich film Festival. The film follows one of the world’s most secretive and ancient events: selecting the new Pope. Ralph Fiennes plays the Cardinal in charge of coordinating the activities. Edward Berger reveals that he was attracted to Robert Harris’ book, which the film is based on, not only for the natural curiosity that the Vatican world inspires but because he could relate to doubt. “I was interested in Ray Fiennes’ character journey of uncertainty and doubt - he clarifies in the interview -  because I can relate to doubt as I think many people can”. The director also gives his personal comment on a concept expressed in the film: "The men who are dangerous are the ones who do not want to become Pope". "Conclave" manages not to completely fall on the curiosity of what happens behind the Vatican Doors so to become a universal tale on power, ambition and politics. Among the themes the film directly and indirectly tackle, the “women” issue is often explored. The role of women in society and in positions of power is a very important element the film delves into. "Conclave" is ready to land, in a few days, in the city it has been shot and takes place in: Rome and Rome Film Festival

The story of Christopher Reeve is an astonishing rise from unknown actor to iconic movie star, and his definitive portrayal of Clark Kent/Superman set the benchmark for the superhero cinematic universes that dominate cinema today. Reeve portrayed the Man of Steel in four Superman films and played dozens of other roles that displayed his talent and range as an actor, before being injured in a near-fatal horse-riding accident in 1995 that left him paralyzed from the neck down. After becoming a quadriplegic, he became a charismatic leader and activist in the quest to find a cure for spinal cord injuries, as well as a passionate advocate for disability rights and care - all while continuing his career in cinema in front of and behind the camera and dedicating himself to his beloved family. From the directors of McQueen, Ian Bonhôte and Peter Ettedgui, this film includes never-before-seen intimate home movies and an extraordinary trove of personal archive material, as well as the first extended interviews ever filmed with Reeve’s three children about their father, and interviews with the A-list Hollywood actors who were Reeve’s colleagues and friends. The film is a moving and vivid cinematic telling of Reeve’s remarkable story.

Ethan Hawke is one of the main guests of the 20th Lucca Film Festival. Protagonist of a masterclass with university students, audience and press, the actor, director, writer and musician received the Golden Panther Award for his achievements. To celebrate him, Lucca Film Festival showcased a very effective selection of the titles that made his acting and directing career. From Peter Weir’s drama Dead Poets Society (1989), a critical success starring Robin Williams as the protagonist which launched his career as an actor to the Richard Linklater’s “Before” trilogy that he also co-wrote the screenplay of, along with his co-star Julie Delpy. Among his films as director, the festival presented Blaze, Seymour: an Introduction and his latest work, Wildcat, as an italian premiere. The film stars Hawke’s daughter, actress and songwriter Maya Hawke in the role of American novelist Flannery O'Connor. When asked which moment of his life he’s the most nostalgic about, Ethan Hawke answers: “I get nostalgic about basically everything, strangely even about the darkest period in my life because I was growing”.

In this exclusive interview, in collaboration with Kinótico, we speak with legendary English director and screenwriter Mike Leigh and actress Marianne Jean-Baptiste, the duo behind Hard Truths. Leigh, the winner of the Palme d'Or at Cannes and the Golden Lion at Venice, teams up once again with Jean-Baptiste, whom he previously directed to an Oscar nomination in Secrets & Lies. The film had its world premiere at Toronto International Film Festival to critical acclaim before arriving in San Sebastián, where Leigh competes for the first time for the Golden Shell. Hard Truths is set to release in Spain on January 10, 2025.

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.

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.

In this exclusive interview, in collaboration with Kinótico, we speak with Laura Carreira, the Portuguese director and writer of On Falling. This debut feature, produced between the UK and Portugal, is competing for the Golden Shell at the San Sebastian International Film Festival (SSIFF). On Falling was hailed by Indiewire as “a quietly devastating debut showcasing a new master of emotionally sophisticated social realism” following its world premiere at the Toronto International Film Festival.

Fred Film Radio heard from director Patricia Font about her movie "The Teacher Who Promised the Sea" ("El maestro que prometió el mar"), adapted from a book by Francesc Escribano, presented on the penultimate night of the 2024 London Spanish Film Festival. Font explained that although there are many films dealing with the Spanish Civil War, few delve into the ongoing search of many families for the remains of their loved ones who disappeared during this time. A beautifully made and moving feature, Font shared how she juxtaposed and contrasted a fictional present with a reconstruction of the past, with a protagonist in the current day, Ariadna, searching for her great-grandfather who went missing during the War (played by the ever-excellent Laia Costa), providing a conduit to the historical era. While contemporary scenes are overshadowed by the weight of intergenerational wounds, trauma and death, the past is filled with colour, dynamism and life, the charisma of the titular teacher emanating from Enric Auquer off the screen. Font talked through the way the few but shocking moments of violence are depicted, keeping the brutality of torture itself as implied rather than detailed, and the decision to end on a realistic yet poignant ending, letting the poetic words of one teacher's students hang in the air. Font emphasised the importance of unearthing lost stories such as that of Antoni Benaiges as a way of keeping their memory alive and to help heal the wounds that remain in families and Spanish society more broadly as result of the horrors of history.

uben Ostlund received the Stella Della Mole award at the National Cinema Museum in Turin and took for the first time outside Scandinavia, the installation The Square that inspired and preceded the making of the winning film at Cannes. Angelo Acerbi met up with him to talk about this, sociology, the grotesque and the taste for knowing how to laugh at oneself. And also what his net film will be about. Art serves to change thoughts and subtleties, it can be done. Ruben Ostlund has it clear in his mind what the role of art is. And he explains it to us by recounting the reactions to the installation The Square in Scandinavia, and also the moment when his country decided to switch to left-hand drive, as an example of how much mentality can be changed, with the birth of new thinking and a new attitude. Sociology is an interest and a cue for his films For Ostlund, sociological curiosity is a necessity and an ongoing cue for his films. He tells us how he uses it and also where the inspiration for his next film comes from: a sociological experiment that he will adapt for the screen. Hear how.

Fred Film Radio heard from filmmaker and historian Luis E. Parés during the London Spanish Film Festival about his documentary "The First Look" or "La Primera Mirada". Parés gave an insight into the painstaking process of viewing the entire archive created by students of a film school created during Franco's dictatorship, which was nonetheless necessary due to Parés' obsessive nature and thorough approach to his work. He shared what stood out to him on first seeing these images, showing a part of Spanish history not caught on camera before, from the extreme poverty that existed in the wake of civil war to the provocative political views, absurd humour and repression of sexual desire they explored, something otherwise forbidden during that time. He explained that the fact the film school lacked funding and was seen as only the innocuous experimentation of students, their work went under the radar of government censorship, opening up a space of relative freedom to create subversive art and capture unseen parts of the country in inventive ways, telling a different story than the one told in mainstream channels and defying the otherwise pervasive oppression. Parés further expressed his views about the importance of knowing and understanding Spain's history, cinema history and the context in which older generations grew up in order to understand the present and avoid repeating the mistakes of the past, something we are able to do most powerfully through cinematographical images.

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.

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.

Laura Jou, director on "Free Falling", masks, metaphor and the path to self-acceptance

The director of Conclave, Edward Berger, talks about his first English-language feature, based on Robert Harris’ best-seller.

he Australian director Adam Elliot talks to FRED about how he conceived Memoir of a snail as it just won first prize in Annecy.

Director Audrey Diwan and her actresses Merlant and Huang on why they decided to revisit an erotic cinema classic giving it a contemporary and feminist look.

“Possibility of paradise” the quest for a new Eden in a tropical purgatory, where dreams face reality: what is a good life, and how to live it? The post“Possibility of paradise” interview with director Mladen Kovačevićappeared first onFred Film Radio.

"Songs of slow burning earth", the normalisation of war depicted through an impressive cinematographic documentary: filming as a tool to resist during the full-scale invasion of Ukraine. The post“Songs of slow burning earth”, interview with the director Olha Zhurba and the protagonist Ganna Vasykappeared first onFred Film Radio.

“Edge of Night” explores the profound complexities of loyalty and identity amidst societal struggles. Discover how Türker Süer captures the emotional essence of his characters in this compelling narrative. The post“Edge of Night”, interview with Director Türker Süerappeared first onFred Film Radio.

M- Son of the century, premiering at Venice 81, is a contemporary portrait of Mussolini and his political rise The post“M- Son of the century”, interview with director Joe Wright and actor Luca Marinelliappeared first onFred Film Radio.

“Don’t Cry Butterfly” captures the intricacies of love and betrayal with a blend of horror and comedy. Discover how Dương Diệu Linh presents the emotional depth of her characters in this engaging narrative. The post“Don’t Cry Butterfly,” Interview with Director Dương Diệu Linhappeared first onFred Film Radio.

“Familiar Touch” is an evocative exploration of aging and identity, highlighting the emotional depth of love and connection through Kathleen Chalfant's powerful portrayal. Discover how Sarah Friedland captures the complexities of human relationships in this heartfelt narrative. The post“Familiar Touch,” interview with Sarah Friedland and Kathleen Chalfantappeared first onFred Film Radio.

“Perfumed with Mint” delves into themes of emotional struggle and resilience against the haunting backdrop of Cairo. Discover how Muhammed Hamdy captures the essence of a generation in this evocative narrative. The post“Perfumed with Mint” interview with Director Muhammed Hamdyappeared first onFred Film Radio.

“Carissa” is a heartfelt exploration of identity and family dynamics in a small community. Discover how Deidré Jantjies and Gretchen Ramsden bring this poignant story to life. The post“Carissa,” Interview with Producer Deidré Jantjies and Actress Gretchen Ramsdenappeared first onFred Film Radio.

Michael Premo chose a hard task: depicting in his documentary "Homegrown" the lives and motivations of three American nationalists, Trump supporters, preparing for the assault to the Capitol: Americans at war with each other. Being a black man the challenge was a lot harder. The post“Homegrown”, interview with the director Michael Premoappeared first onFred Film Radio.

Jethro Massey brings us to Paris with "Paul and Paulette Take A Bath", a romantic unusual comedy about two people that meet and fall in love over a fascination that Paulette has for the macabre in history. Unconventional and intriguing. The post“Paul and Paulette Take A Bath”, interview with the director Jethro Massey and the actors Marie Benati and Jérémie Galianaappeared first onFred Film Radio.

Mónica Taboada-Tapia, director, “Alma del desierto”, a heartfelt documentary following the struggle for justice of Georgina, a transgender Indigenous woman in Colombia The post“Alma del desierto”, interview with the director Mónica Taboada-Tapiaappeared first onFred Film Radio.

"Love" is a healing film that deals with love and sexuality in a way we did not know we needed. No moral judgements, no social constrictions, the freedom to be oneself as a rule. This wonderful world created by the director Dag Johan Haugerud is a gem not to lose. The post“Love”, interview with the director Dag Johan Haugerud and actress Andrea Braein Hovigappeared first onFred Film Radio.

“Alpha” explores the complexities of friendship and rebellion amid a turbulent socio-political landscape. Discover how Jan-Willem van Ewijk captures the essence of youth in this thought-provoking film. The post“Alpha,” interview with Director Jan-Willem van Ewijk and actors Reinout Scholten van Aschat, Gijs Scholten van Aschatappeared first onFred Film Radio.

“Seeking Haven for MR Rambo” navigates the complexities of loyalty and belonging within contemporary urban life. Discover how Khaled Mansour captures the essence of resilience in this compelling narrative. The post“Seeking Haven for MR Rambo,” interview with Director Khaled Mansourappeared first onFred Film Radio.

Joker: Folie À Deux, the much-anticipated follow-up to 2019’s Golden Lion “Joker”, is back in Venice’s competition The post“Joker: Folie À Deux”, interview with director Todd Phillipsappeared first onFred Film Radio.

"I think the story is tragically more relevant maybe than ever in its thousands of years of existence" The post“The Mahabharata”, interview with producer Simon Brookappeared first onFred Film Radio.

“For me it was important to go to the war zone, as soon as possible, to try to describe reality as it unfolds” The post“Of Dogs and Men”, interview with director Dani Rosenbergappeared first onFred Film Radio.

"The film is mysterious, it doesn't explain everything, and it was important to me that it would stay like that" The post“Basileia”, interview with director Isabella Torre e and actor Elliot Crosset Hoveappeared first onFred Film Radio.

From the 81. Venice Film Festival, all the behind-the-scenes glimpses day by day. The postVenice Film Festival English Daily – 6th Septemberappeared first onFred Film Radio.

From the 81. Venice Film Festival, all the behind-the-scenes glimpses day by day. The postVenice Film Festival English Daily – 5th Septemberappeared first onFred Film Radio.

"Stranger Eyes" is a thriller directed by Yeo Siew Hua. A little girl disappears, the young parents will find an unsettling truth while looking for her. A thriller with a warning about how being seen and wanted to be watched can be a danger. The post“Stranger Eyes”, interview with the director Yeo Siew Huaappeared first onFred Film Radio.

With "April", director Dea Kulumbegashvili brings us into the rural Georgian society, where the female situation is of oppression and impositions by the patriarchy, when a female doctor tries to help women to emancipate in the use of their body and their will. The post“April”, interview with the director Dea Kulumbegashviliappeared first onFred Film Radio.

Your quick 4-minute update on the latest happenings at the industry hub of the Venice Film Festival! The postThe Venice Production Bridge day in 4 minutes – 05/09appeared first onFred Film Radio.

Discover the participants of the 27 Times Cinema at Venezia 81. The post8min of 10 27 Times Cinema – Isabella Weber – 4th Septemberappeared first onFred Film Radio.

From the 81. Venice Film Festival, all the behind-the-scenes glimpses day by day. The postVenice Film Festival English Daily – 4th Septemberappeared first onFred Film Radio.

Listen to "Global Critics Venice Voice"! Rita Di Santo will lead you everyday through the highlights and film critics from the 81th Venice Film Festival. The postHighlights and film critics from the 81th Venice Film Festival – episode 4/09appeared first onFred Film Radio.

"I'm Still Here" is a powerful family drama, political and intimate at the same time. Walter Salles directs Fernanda Torres in a state of grace for a terrific performance, with a group of fellows actors that deliver perfectly, conveying the love and the grief and the strength of a family. The post“I’m Still Here”, interview with the director Walter Salles and the actress Fernanda Torresappeared first onFred Film Radio.

“I think it's important to offer light and hope, especially in the current state of the world" The post“After Party”, interview with director Vojtĕch Strakatýappeared first onFred Film Radio.

“This year we have three films coming from Final Cut in Venice 2023 selected in Venice” The post“Aisha Can’t Fly Away”, interview with director Morad Mostafa, producer Sawsan Yusuf and Alessandra Speciale, curator of Final Cut in Veniceappeared first onFred Film Radio.

Your quick 4-minute update on the latest happenings at the industry hub of the Venice Film Festival! The postThe Venice Production Bridge day in 4 minutes – 04/09appeared first onFred Film Radio.

Interview with Athina Rachel Tsangari, director of "Harvest", and actor Caleb Landry Jones. They talk about their intention of not to deliver a message with the film The post“Harvest”, interview with director Athina Rachel Tsangari and actor Caleb Landry Jonesappeared first onFred Film Radio.

Discover the participants of the 27 Times Cinema at Venezia 81. The post8min of 10 27 Times Cinema – Esmée van Loon – 3rd Septemberappeared first onFred Film Radio.

Your quick 4-minute update on the latest happenings at the industry hub of the Venice Film Festival! The postThe Venice Production Bridge day in 4 minutes – 03/09appeared first onFred Film Radio.

From the 81. Venice Film Festival, all the behind-the-scenes glimpses day by day. The postVenice Film Festival English Daily – 3rd Septemberappeared first onFred Film Radio.

Listen to "Global Critics Venice Voice"! Rita Di Santo will lead you everyday through the highlights and film critics from the 81th Venice Film Festival. The postHighlights and film critics from the 81th Venice Film Festival – episode 3/09appeared first onFred Film Radio.

“I Am the Beauty of Your Beauty, I Am the Fear of Your Fear” is a powerful exploration of self-discovery and resilience. Discover how Chui Mui Tan captures the essence of femininity and strength in this evocative narrative. The post“I am the beauty of your beauty, I am the fear of your fear,” interview with Tan Chui Muiappeared first onFred Film Radio.

“Mistress Dispeller” delves into the complexities of love and infidelity in a contemporary setting. Discover how Elizabeth Lo captures the emotional depths of human relationships in this compelling narrative. The post“Mistress Dispeller,” interview with Director Elizabeth Loappeared first onFred Film Radio.

“Happyend” explores the complexities of friendship and rebellion against a backdrop of societal pressure. Discover how Neo Sora captures the essence of youth in this thought-provoking film. The post“Happyend,” interview with Director Neo Soraappeared first onFred Film Radio.

Interview with Lav Díaz, director of "Phantosmia". He talks about the power of memory in healing the wounds of the past The post“Phantosmia”, interview with the director Lav Díazappeared first onFred Film Radio.

Interview with Tilda Swinton and Julianne Moore, actresses in "The room next door". They talk about their work with Pedro Almodóvar. The post“The Room Next Door”, interview with Tilda Swinton and Julianne Mooreappeared first onFred Film Radio.

Discover the participants of the 27 Times Cinema at Venezia 81. The post8min of 10 27 Times Cinema – David Bakum – 2nd Septemberappeared first onFred Film Radio.

From the 81. Venice Film Festival, all the behind-the-scenes glimpses day by day. The postVenice Film Festival English Daily – 2nd Septemberappeared first onFred Film Radio.

Your quick 4-minute update on the latest happenings at the industry hub of the Venice Film Festival! The postThe Venice Production Bridge day in 4 minutes – 02/09appeared first onFred Film Radio.

Listen to "Global Critics Venice Voice"! Rita Di Santo will lead you everyday through the highlights and film critics from the 81th Venice Film Festival. The postHighlights and film critics from the 81th Venice Film Festival – episode 2/09appeared first onFred Film Radio.

“I hope that you got out of the film wanting to break the silence, having courage to speak out” The post“Manas”, interview with director Marianna Brennandappeared first onFred Film Radio.

“The hurrican represents a feeling that is common to our uncertainty” The post“No Sleep Till”, interview with director Alexandra Simpson and actors Jordan Coley and Brynne Hofbauerappeared first onFred Film Radio.

“El Affaire Miu Miu” intertwines fashion and storytelling to explore femininity and identity. Discover how Laura Citarella captures the essence of women’s narratives in this enchanting film. The post“El Affaire Miu Miu,” interview with Director Laura Citarellaappeared first onFred Film Radio.

“To Kill a Mongolian Horse” explores the struggle between performance and authenticity in a visually stunning narrative. Discover how Xiaoxuan Jiang captures the essence of identity against the backdrop of the Mongolian steppes. The post“To Kill a Mongolian Horse,” interview with Director Xiaoxuan Jiangappeared first onFred Film Radio.

"What I'm more proud of having been the person who has ideated the College is that we have created a community atmosphere" The postBiennale College Cinema 2024, interview with head of program Savina Neirottiappeared first onFred Film Radio.

“I just want to create this feeling of something very bad that you cannot avoid”. The post“Honeymoon”, interview with director Zhanna Ozirna and producer Dmytro Sukhanovappeared first onFred Film Radio.

From the 81. Venice Film Festival, all the behind-the-scenes glimpses day by day. The postVenice Film Festival English Daily – 1st Septemberappeared first onFred Film Radio.

Discover the participants of the 27 Times Cinema at Venezia 81. The post8min of 10 27 Times Cinema – Gregor Valentovic – 1st Septemberappeared first onFred Film Radio.

Your quick 4-minute update on the latest happenings at the industry hub of the Venice Film Festival! The postThe Venice Production Bridge day in 4 minutes – 01/09appeared first onFred Film Radio.

The order, in the 81st Venice competition, sees Jude Law as a veteran FBI agent fighting a group of white supremacists. The post“The order”, interview with actor and producer Jude Lawappeared first onFred Film Radio.

JETRO, or the Japan External Trade Organisation, is a government-related organisation that works to promote mutual trade and investment between Japan and the rest of the world. We met with Naofumi Makino, director of Digital Content Technology, to talk about the presence of the company at the Venice Production Bridge and the goals his company , and all the national branches of it in many countries, wants to reach. The VPB panel JETRO hosts a panel featuring Japanese film producers and international distributors or film programmer. The discussion focuses on the current global position and uniqueness of Japanese film as well as the potential for international co-productions.

Listen to "Global Critics Venice Voice"! Rita Di Santo will lead you everyday through the highlights and film critics from the 81th Venice Film Festival. The postHighlights and film critics from the 81th Venice Film Festival – episode 1/09appeared first onFred Film Radio.

“Boomerang” explores the complexities of love and marriage within Tehran socio-political landscape. Discover how intricate narratives unfold in this poignant film focused on longing and connection. The post“Boomerang,” interview with director Shahab Fotouhiappeared first onFred Film Radio.

“Wishing on a Star” explores love and self-discovery through astrology. Discover how Peter Kerekes captures the essence of human connections in this enchanting film. The post“Wishing on a Star,” interview with director Peter Kerekesappeared first onFred Film Radio.

Interview with Brady Corbet, director of "The brutalist". He talks about the very long process of making this 3h20m film The post“The brutalist”, interview with the director Brady Corbetappeared first onFred Film Radio.

Interview with Adrien Brody, actor in "The brutalist". He talks about why he considers himself perfect for the main role in the film The post“The brutalist”, interview with the actor Adrien Brodyappeared first onFred Film Radio.

"The purpose is to tell the truth or to give birth to a polemic, to a debate”. The post“The New Year That Never Came”, interview with director Bogdan Mureşanuappeared first onFred Film Radio.

Interview with Paprika Steen and Nikolas Lie Kaas, actors in "Families like ours". They talk about their work with Thomas Vinterberg in this series The post“Families like ours”, interview with Paprika Steen and Nikolaj Lie Kaasappeared first onFred Film Radio.

Discover the participants of the 27 Times Cinema at Venezia 81. The post8min of 10 27 Times Cinema – Victor Courgeon – 31th Augustappeared first onFred Film Radio.

"This movie talks about reality and virtual world, which both scare me a lot" The post“Planet B”, interview with director Aude Léa Rapinappeared first onFred Film Radio.