FRED Film Radio - English Channel

The sensitive “Arni” by Dorka Vermes is small guy, a solitaire living in a travelling circus. His life is the exemplification of loneliness and strength at te same time. Following his transformation through the meeting with a snake, the film is  an allegory for the resilience and stubbornness that minorities and excluded have to endure in order to survive in our world. “Arni” by Dorka Vermes“Arni” by Dorka Vermes has been presented at Biennale College Cinema 2023.

There is a longterm collaboration between Dorka Vermes and the actor Péter Turi, whose body and face and personality have been the major inspiration for the writing of the film. His powerful performance and his on-screen charisma bring the film to a higher level of intensity.

Two snakes were used for the shooting , one bigger and one smaller, that Péter Turi should interact with physically. Some CGI was forcefully needed, with a serious  impact on the budget and timings required by the Biennale College rules.

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The workshop, titled  “Accessible cinema: films for all” , introduces and explains the notion of ‘accessible filmmaking’, i.e. how filmmakers can collaborate with accessibility experts to ensure that films are accessible to all viewers across language and sensory boundaries.

After providing an overview of the legal framework supporting the provision of accessible films, the workshop presents the main features of subtitles for the deaf and hard of hearing (SDH) and of Audio description services for the blind and partially sighted audience.

At the end, the short film “Il Moro” by Daphne Di Cinto is presented in a fully accessible version, with English SDH, English audio subtitles and audio description.

The workshop is organised as part of the 27 Times Cinema Project, in partnership with Sub-Ti and Sub-Ti Access, to promote accessibility awareness among new generations of cinephiles who will be part of the future film industry.

The post “Accessible cinema: films for all”, workshop fostered by Sub-Ti and Sub-Ti Access for “27 Times Cinema” appeared first on Fred Film Radio.

Inspired by the true story of professor, Gary Johnson, who worked as phony hit man for the New Orleans Police Department for years, Oscar®-Nominated director Richard Linklater directed Hit Man, screening at the 80th Venice International Film Festival out of competition and written with the film’s star Glen Powell.

Thanks to the actor, Linklater managed to find the key to turn Johnson’story into a film as Powell recalls: “There was one line near the end of the article about Gary Johnson finding this woman who was trying to kill her husband but seeing the humanity in her. He looked at this person and thought, ‘This is a victim of their circumstances, and I want to help them through this thing.’ A guy who imitated humanity was in turn finding his own humanity. That relationship turned out to be key to the entire movie.”

With the “interference of Glen Powell, Linklater also mastered his first scene ever in a film that sees the romantic and sexy involvement of Powell and Adria Arjona playing Madison. Richard Linklater is the recipient of this year’s FRED Award at the Venice International Film Festival.

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With the narrative tool of a film about a film abpout a film, “The Summer With Carmen” by Zacharias Mavroeidis tackles both queer life and relationships in the gay community of Athens, and the creative turmoil of building a film project. With a light and circular structure of back and forth in time, the film gets the best out of the truthful and relentless performances of the two leads, Yorgos Tsiantoulas and Andreas Lampropoulos.

“The Summer With Carmen” by Zacharias Mavroeidis has been presented in Giornate degli Autori selection 2023.

There was a will, from the director’s point of view, of creating a true-to-life queer film in an unapologetic way that had never been done before. The narrative trick of the film about creating a film was the perfect tool to explore all aspects of queer relationships, both sexual and sentimental.

The film earnest look and image asked the actors a level of confidence that is a winning feature. Yorgos Tsiantoulas, who has the most naked and sex scenes the film, tells about his being comfortable with naked scenes : his character needs to be told in such a way, so his job as an actor was to follow that path.

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The final effort of a live performance, in “Ryiuchi Sakamoto: Opus“, of one of the most important contemporary composers and musicians in the world becomes a cathartic session of self analysis and intimate discovery. The essential concert, just the maestro and his piano, manages to open infinite mental territories in each one of us, and also the awareness that we’ll no longer have new music form him to soothe our souls.

“Ryuichi Sakamoto:Opus” has been decided and commissioned by the maestro himself, who wanted to gather all his major successes in one final performace. It was shot over 8 days.

Throughout the film, we testify the effort Sakamoto made to perform and his strong will to do so at the same time. He relaxes throughout the performance , he smiles sometimes, but everything stays essential and minimal, as the work of the director and the d.o.p.

The post “Ryuichi Sakamoto: Opus”, interview with the director Neo Sora and the D.o.P Bill Kirsten appeared first on Fred Film Radio.

Chiara Pazzelli interviews Manca Cerar, slovenian ambassador at the 2023 edition of 27 Times Cinema at Venezia 80.

This project gives the opportunity to 27 young film-lovers, selected through the cinemas of the Europa Cinemas Network, to represent each of the 27 European Countries at the Mostra Internazionale d’Arte Cinematografica.

Hosted in Venice for the duration of the Festival, these young viewers (all aged between 18 and 25) attend the Festival’s and the Lux Film Prize’s screenings, participate in debates and practical workshops.

These meetings, held at Le Giornate degli Autori, involve directors, authors, film professionals and Members of the European Parliament.

The post Lucija Mijatovic, Croatia appeared first on Fred Film Radio.

British director Moin Hussain always found motorway service stations to have something otherworldly about them. Spaceship-like in appearance and transient in nature, such a place seemed the perfect setting for his feature debut “Sky Peals”, a sci-fi-inflected tale of alienation in modern Britain.

Returning to the sci-fi movies he watched growing up, such as Steven Spielberg’s “Close Encounters of the Third Kind”, he saw the premise from a fresh perspective: instead of the heroic arc of the protagonist boarding the spaceship, he contemplated the family Roy Neary would have left behind.

Moin Hussain shared how he constructed his character of Adam, a British-Pakistani man living alone and working night shifts in a burger joint in a service station, and cast Faraz Ayub, previously seen in supporting roles in series such as “Line of Duty” and “Screw”, to take on the central role of the introverted and awkward young man.

He explained his compulsion to film on film, and how this helped him achieve his eerie aesthetic and uncanny atmosphere in the story’s mundane locations, from the fast-food outlet to an after-work party.

The search for identity is one both specific to his character’s mixed-race roots and a broader existential one, held in Adam’s question: “Do you ever feel that you’re in the wrong place?”. Through the medium of genre, “Sky Peals” dwells on the yearning for contact and connection we can all feel, particularly in the wake of lockdown, where even standing next to someone in a queue can be a source of comfort.

“Sky Peals” has been presented in Settimana della Critica section at the 80th edition of Venice Film Festival.

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With Alessandra Speciale, we talk about Final Cut In Venice, the workshop included in the activities of the Venice Production Bridge, dedicated to the completion of film projects coming from all African countries and from five countries of the Middle East: Iraq, Jordan, Lebanon, Palestine, and Syria.

The workshop consists of three days of activities on the Venice Lido, during the Venice Film Festival, in which the working copies of the selected films are introduced to producers, buyers, distributors, post-production companies, and film festival programmers.

Even if , as Alessandra Speciale says, the concept we have for film industry is more complex, in the last years she noticed an increase in  film productions in the countries included in Final Cut In Venice and a major attention also of the international film market for films coming from those regions.

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Il Queer Lion è il premio riservato al miglior film a tematica LGBTQI+ della Mostra Internazionale Del Cinema di Venezia. Giunto alla 17a edizione, quest’anno il premio è andato a Housekeeping for Beginners di Goran Stolevski,  presentato nella sezione Orizzonti.

Commentando il vincitore del Queer Lion 2023, Marco Busato ha tenuto a sottolineare che quest’anno, come nelle ultime edizioni della Mostra, l’attenzione al cinema LGBTQI* era altissima, con film in cui il tema era centrale e mai edulcorato.

Daniel Casagrande è stato testimone dell’impatto che il film vincitore ha avuto sul pubblico, una cosa mai vista a sua memoria alla Mostra. Questo fatto ha confermato la decisione del comitato del Queer Lion come l’unica possibile.

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Chiara Pazzelli interviews Luca Deutinger, dutch ambassador at the 2023 edition of 27 Times Cinema at Venezia 80.

This project gives the opportunity to 27 young film-lovers, selected through the cinemas of the Europa Cinemas Network, to represent each of the 27 European Countries at the Mostra Internazionale d’Arte Cinematografica.

Hosted in Venice for the duration of the Festival, these young viewers (all aged between 18 and 25) attend the Festival’s and the Lux Film Prize’s screenings, participate in debates and practical workshops.

These meetings, held at Le Giornate degli Autori, involve directors, authors, film professionals and Members of the European Parliament.

The post Luca Deutinger, Netherlands appeared first on Fred Film Radio.