FRED Film Radio - English Channel

“Nina” by Andrea Jaurrieta is in competition at the 42°Torino Film Festival.

The film is a thriller drama starring Patricia López Arnaiz and it is defined by its author as a contemporary western. 

Jaurrieta investigates on the meaning of vengeance and whether it can be a solution as violence should never be fought with violence. 

López Arnaiz is “Nina“, a woman deciding to return to her hometown after many many years to finally get her revenge with the man who destroyed her life, played on screen by Darío Grandinetti.

Of her film, Andrea Jaurrieta wrote in her director’s notes: “Through Nina I first want to talk about abuse, make a reflection on where the limits of consent are. A subject that crosses cultural barriers and affects all societies in a transversal way. In my opinion, there is an urgent need to reflect on abuse from an active feminine point of view. Not from victimization, but from the psychological and social complexity that figures in this kind of relationship.”

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Ron Howard inaugurates the 42 Torino Film Festival with the international premiere of “Eden“, his last intense drama with Jude Law, Ana De Armas, Vanessa Kirby, Daniel Bruhl and Sydney Sweeney. The director is also the recipient of the Stella Della Mole Award, that the national Museum of Cinema of Torino gives to outstanding film personality for their work and career.

Ron Howard chose three very intense and completely different actress to play the three women that in the filma re those who carry the lives of their men, with complete opposite results and motivations, but all with the same strength and determination. The cast was made on underlining those difference and that common force.

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Director Kyle Hausmann-Stokes delivers a powerful debut with “My Dead Friend Zoe“, a deeply personal film rooted in his own Army experiences, when he served in Iraq. The story sheds light on the profound challenges veterans face as they transition to civilian life, grappling with PTSD and the emotional toll of losing friends and comrades.

With authenticity and realism, the film offers a poignant exploration of resilience, healing, and the enduring impact of war, presenting a deeply moving tribute to the human spirit, without indulging in the glorification of militarism for its own sake, but rather critically examining its impact on society.

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Directors Nada Riyadh and Ayman El Amir delve into the inspiration behind their documentary “The brink of dreams“, a powerful portrayal of the girls from the street theatre company Panorama El Barsha.

Set in the remote rural village that shares its name, the film highlights how these young women bring their performances to the streets to give voice to their aspirations and advocate for change. For them, street theatre is not merely a leisure activity but a vital means of survival and self-expression. “They want to engage with society and transform it through art,” explains director Ayman El Amir.

By embracing the unconventional medium of street theatre, the girls address pressing issues such as women’s rights and empowerment, crafting performances that resonate deeply with their lived experiences and challenge societal norms.

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At the 42°Torino Film Festival directed by Giulio Base, Alec Baldwin is among the actors receiving the Stella della Mole Award. 

The actor is in Torino to also introduce to the audience one of the major films of his long and multifaceted career: 1990’s “The Hunt for Red October ” by John McTiernan.

Baldwin was actually the first actor to portray Tom Clancy’s Jack Ryan on the big screen. After him, there were Harrison Ford, Ben Affleck, Chris Pine and John Krasinski.

As the Stella della Mole is a career award, Alec Baldwin looks back at his almost 40 years in the movie business and says that he’s the most nostalgic for the people he worked with.

On “30 Rock“, the TV series he took part of for 7 seasons, from  2006 to 2013, he said that it was his chance to keep up with the comedic part of himself and his acting. “Saturday Night live“ was only for a week,  “30 Rock” lasted for 7 years. 

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At the 42° Torino Film Festival directed by Giulio Base, Matthew Broderick is among the actors receiving the famous festival prize, Stella della Mole. 

The actor is in Torino to also introduce to the audience one of the films of the Marlon Brando retrospective: “The Freshman“

In the 1980’s film by Andrew Bergman, Broderick plays a naive young cinema student at the New York University who, accidentally, ends up “working” for Carmine Sabatini ( Brando) who is the spitting image of Vito Corleone from “The Godfather“.

After endless requests to play the part of the mafioso, Brando eventually gave in and agreed to take part in a comical parody of his performance in the iconic film by Francis Ford Coppola. 

Matthew Broderick talks about his experience on set with Brando and the things he learned from this acting legend.

“Movies and plays change all the time. I like to welcome young actors and I like to learn from them. it’s a two way thing” Broderick states. 

Among the first films Broderick acted in, there’s the unforgettable and 80’s fundamental movie “Ferris Bueller’s Day Off“. The actor tells us more about working on set with legendary director John Hughes. 

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Dal 21 Novembre con Warner Bros Pictures in sala arriva “Una Terapia di Gruppo” di Paolo Costella. 

Con un cast corale, composto da Claudio Bisio, Valentina Lodovini, Margherita Buy, Lucia Mascino, Claudio Santamaria, Ludovica Francesconi e Leo Gassman, il film racconta le ossessioni del nostro tempo, attraverso un gruppo di pazienti affetti da Disturbo Ossessivo Compulsivo. 

Sfruttando i toni della commedia, tanto cara alla nostra tradizione cinematografica, “Una Terapia di Gruppo” affronta un tema che ci riguarda tutti, perché ognuno di noi, con le sue declinazioni e intensità, deve fare i conti con fissazioni, ossessioni e  tormenti.

Concordano Claudio Bisio e Valentina Lodovini che elogiano lo strumento della commedia perché con certi disturbi sarebbe molto più facile drammatizzare, mentre, ribaltare la situazione, “non ridere di loro ma con loro” aiuta ad empatizzare, ad affrontare. 

Seppur tratto dal soggetto originale “Toc Toc” di Laurent Baffie, il film prende un’altra direzione e prova a accogliere il dubbio, l’empatia e l’immedesimazione nello spettatore. 

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Searit Huluf is at the 24th Frame Future Film Festival in Bologna, Italy to present “Self“, her Pixar Sparkshort film.

The director is also giving a Masterclass “Pixar Talk: Self” at the festival.

The film, as the director confirmed while presenting it in various occasions, marks several firsts. Among those, it is Pixar’s debut in stop-motion and it’s a short film that holds a personal connection with its author, Huluf.

Produced by Eric Rosales, “Self” belongs to Pixar’s acclaimed Sparkshorts program and it depicts a journey of self discovering through the adventure of this wooden doll who desperately wants to fit in.

Searit Huluf tells us about the freedom she had to tell a resonating story for her that could honor her Ethiopian heritage.

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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.

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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.

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.

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.

“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, 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.”

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.

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