FRED Film Radio - English Channel

Tony Leung Chiu-wai riceve il Leone d’Oro alla Carriera all’80esima Mostra Internazionale del Cinema di Venezia. È uno degli attori più conosciuti di Hong Kong e ha contribuito alla diffusione del cinema asiatico in tutto il mondo negli anni ’90 e 2000, grazie anche alla sua famosa e prolungata collaborazione con Wong Kar Wai.

Il premio è stato una grande sorpresa per Tony Leung Chiu-wai, Leone d’Oro alla carriera; è già stato al Festival di Venezia con “Lust, cautela” di Ang Lee nel 2007, dove il film ha vinto ma non ha potuto ritirare il premio perché era a Toronto. Quindi vivere qui ed essere premiato per la sua carriera è il modo migliore per tornare al festival.

Ha avuto una grande carriera, è riconosciuto ed è diventato una star del cinema internazionale, ma è fondamentale per Tony Leung Chiu-wai specificare che i suoi meriti sono dovuti alle squadre con cui ha lavorato in ogni film. Nessun attore può brillare se tutta la squadra non lavora all’unisono, quindi questo premio è dedicato anche a tutti i colleghi che ha incontrato nel corso della sua vita.

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One of the short films in the Miu Miu Women’s Tale program, at the Giornate degli Autori, “Stane” by Antoneta Alamat Kusijanović is a statement on woman affirmation, gender roles and patriarchy.

The general feeling about a woman in power is that she has to be put there, not that she earned it. In “Stane” by Antoneta Alamat Kusijanović , her professional abilities are recognised but she cannot have the same power of decision inside her family.

All Antoneta Alamat Kusijanović ‘s films are about or around the issue of women’s rights and female affirmation. In this film, the will to rebel that Stane feels has to come to terms  with her role as a mother and the love for her child.

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In “The Palace” by Roman Polanski, the actor Oliver Masucci plays the director of the luxury hotel where rich and obnoxious people gather for the New Year’s Eve of 2000. A  social farce, directed by Roman Polanski, with wit and a limitless grotesque approach, where all characters are portrayed at their worst, in a merry-go-round of futility and ridiculous arrogance.

Oliver Masucci assures us that the set of “The Palace” was a blast; a kind of  forced holiday, in the hotel that is the location and the additional character of the film, where work and life mixed. Roman Polanski on the set was meticulous, and they rehearsed a lot, with him suggesting the perfect comic timings and managing all the minimum aspects of every character’s interaction.

Oliver Masucci spent a lot of time with the real director fo the grand hotel, to learn and stela style and movements and the attitude of a director of such a huge machine. the director told him that what the film tells is a little part of the crazy stuff that happened in his career, in the hotel. Some rich people can be much worse than what the film describes.

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“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.

Ryosuke 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

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.

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With the thriller “The Theory of Everything” by Tim Kroeger, the director Tim Kroeger brings us in the the Swiss Alps , in the 60’s, were a crime happens at a physics’s congress: a lot of interesting premises that make the film an unexpected surprise, in this year’s competition at the Venice Film Festival. “The Theory of Everything” by Tim Kroeger has been presented in Competition at the 80th edition of Venice Film Festival.

Tim Kroeger wanted to make a visual tribute to Hitchcock : “The Theory Of Everything” is a precise visual and editing tribute to the master. Very interesting the idea that Kroger had about the music and how to use it: these genre films in the 50’s and 60’s had a specific  employment of music as a comment and also as a narrative help, very present but never too much, use he reproduced faithfully.

Jan Bulow, playing Johannes, the young physicist at the center of the intrigue, tells us how the simplicity of his character was a tool he put in the hand of the director, as being simple and pure sometimes is not a curse but can be a strength.

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Oscar and Bafta-nominated Bosnian director Jasmila Žbanić of 2020’s “Quo Vadis, Aida?” first had the idea for “I Know Your Soul” in the wake of a real-life suicide case in Sarajevo. The resulting conversation with her then 14-year-old daughter made her aware of the gaping chasm between them that she hadn’t realised was there.

Her new series, originally conceived as a feature film and for which Jasmila Žbanić moves into the role of showrunner, ruminates on that theme of how well we know our children, centring on Nevena Murtezic, a prosecutor and single mother who works on a case of suicide that soon engulfs her professional and private life, particularly her relationship with her son, who is implicated in rumours of abuse at the deceased’s school.

Jasmila Žbanić spoke about why she was compelled to explore this topic through the six-part show and why she wanted to reunite with actress Jasna Đuričić, who plays a formidable Nevena opposite newer face Lazar Dragojević as her son Dino.

She also shared how crucial it was for her protagonist to break with stereotypes of who might lead a series of this nature, particularly in her home country of Bosnia.

She further expressed hope that, beyond the rollercoaster of emotions and commentary on patriarchal power, class, media and the justice system it provides, at its heart, the story is about family, a mother-son relationship and the importance of communication in a world where the lives of our young are increasingly permeated with social media.

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Afef Ben Mahmoud and Khalil Benkirane mix cinema, theatre and dance in “Backstage”, screening in competition at Giornate degli Autori” during Venice International Film Festival 2023.

Spending much of her youth as a professional on stage between dance and theater, Afef, that in the movie plays Aida, as well as being its producer, was writing the script and discussing it with Khalil, putting together their cinematic vision.

“We wanted to recreate this singular dance troupe life and above all, through a very particular aspect of the world of the stage where the settling of scores under no circumstances can be seen by either the spectator nor the director – say Afef and Khalil, couple in life – But the show must always go on and, mainly offstage, is where the real drama plays out, which is why we decided to put there our camera to delve into the life of a dance troupe”.

An interior journey for characters and actors

“We were lucky to have to build a very nice relationship with other actors – Afef and Khalil explain – We were working with them for one year and a half through zoom, during the Covid time, developing where the characters are from, how and why they are together every single moment to when we reached the moment that the movie is started in their lives. Shooting it in chronological way helped a lot, also giving space for improvisation to let the movie flow and grow in this night’s journey of this road movie”.

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The roots of “Gasoline Rainbow” began during lockdown. As we all yearned for freedom, directing duo Bill and Turner Ross began to wonder who must be feeling that yearning more acutely than the younger generation, and their ideas for a film began to accumulate under “Episodes of Delinquency”.

After casting five first-time teenage actors from skate parks and other city spaces, they encouraged their personalities and characters to drive the story, with only a very loose outline of a script and various scenarios on a trip across the American West through deserts and industrial backwaters to the Pacific Coast, allowing them to tell their own story on their own terms. What they found was far less full of delinquency and cynicism than they had imagined, but rather a group full of curiosity and excitement about the world, a snapshot of a generation more open and inclusive than those who’ve gone before.

Despite the precariousness of many of the moments captured, with each day of the shoot like “threading a needle”, the Ross brothers shared how they became like a family, supporting each other in the face of many a wild escapade.

The gritty and punk rock-edged film populated with outsiders and misfits doesn’t shy away from the flaws of modern-day America, with stories of unstable homes, addiction and troubled live on the margins peppered throughout, but through the eyes of those coming-of-age, there’s a brimming sense of hope and optimism about the future and the American Dream, as Turner Ross put it: “If you told them the frontier was dead, the dream was no more, they would argue against that and still find their own. It’s what we’ve all done for generations.”

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After Springbreakers, presented in competition at the Venice International film festival,Harmony Korine is back at the Mostra to premiere, out of competition, his exploration of what comes after films , Aggro Dr1ft.

“Wasn’t wanting to make a movie. Was wanting to make what comes after movies” he says about Aggro Dr1ft which is Korine’s way of wondering if there can be a mergence of art, music, gaming and live action. Shot with a thermal camera, the film uses the esthetics of a videogame and follows a professional killer (Jordi Mollà) thoughts and aspirations while he’s preparing to go kill another, cruel, man. Aggro Dr1ft also sees the participation of rapper Travis Scott acting beside Jordi Mollà.

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Actor-turned-director Jack Huston, alongside producers Josh Porter and Emma Tillinger Koskoff, shared the journey to making his directorial debut, “Day of the Fight”, which premiered in the Horizons Extra section of the 80th Venice Film Festival.

He discussed how Stanley Kubrick’s 1951 documentary “Day of the Fight” provided the impetus for the story, following the day in the life of a boxer, who takes an “introspective journey” leading up to a fight at Madison Square Garden.

He shared his stylistic choices, including shooting the 80s-set movie in black and white, as well as his conviction that Michael Pitt, himself a boxer, was perfect for the role of protagonist Irish Mike, despite some controversy around his selection, conveying both the toughness of the character and his vulnerability.

Finally, the director Jack Huston spoke about the core of the film dealing with how trauma can follow you through the life, the desire for redemption – and that’s never too late to find it.

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