FRED Film Radio - English Channel

Chiara Pazzelli interviews Svetla Sarierva, bulgarian 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 Svetla Sarierva, Bulgaria appeared first on Fred Film Radio.

Chiara Pazzelli interviews Teodora Leu, romanian 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 Teodora Leu, Romania appeared first on Fred Film Radio.

Chiara Pazzelli interviews Tomas Payer, czech 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 Tomas Payer , Czech Republic appeared first on Fred Film Radio.

In an illuminating discussion with Fred Film Radio, Ukrainian director Anna Buryachkova offers an intimate look into her latest film, “Forever-Forever“, in the section Orizzonti Extra. Set against the backdrop of 1990s Kyiv, the film takes us on a compelling journey into the life of Tonia, portrayed by the gifted Alina Cheban. Together, they explore the intricate tapestry of a young girl’s experiences, painting a rich tableau of adolescence in the midst of a turbulent era.

The mention of the 1990s in Ukraine often evokes a sense of collective unease. It was a period marked by turmoil and uncertainty following the collapse of the Soviet regime. Though I was relatively young at the time, I vividly recall the prevailing fear that gripped people, discouraging them from venturing outdoors. Adolescence naturally beckons one to seek out the brighter facets of life, a desire to dance and embark on their own love story. However, what if you find yourself ensnared in darkness, surrounded by individuals tainted by it?

Women have often been advised to seek partners who make their lives easier, commonly referred to as finding one’s “other half.” During that era, this advice carried added significance – finding someone was a matter of protection, as being alone could lead to peril. Parents were preoccupied, leaving young individuals to seek help elsewhere. Tonia’s behaviour is rooted in this context.

As for her sexuality, I believe she derives genuine pleasure from it. Initially pressured, she now seeks to redefine her experiences. In a sense, she displays immense courage by granting intimacy another chance. We watched American teen films and shows in Ukraine, and it was like glimpsing an entirely different world. Suddenly, people were engaging in sexual relationships, a stark contrast to the pretence of nonexistence during the Soviet era.

I was searching for magic. You are correct; it was not an easy role to define. While others might be easier to describe, Alina was discovered on Instagram, and from the moment she walked in, we knew she embodied the character. She possesses a complexity that aligns perfectly with the role. It was as if we discovered the magic we were seeking. Filmmaking, after all, is about capturing that magic.

When crafting the script, we pondered the presence of our parents during that time, and we realised that they were not particularly involved in our lives. They focused on providing for us, prioritising material needs. This often left us feeling lonely. I remember my mother preparing breakfast, but beyond that, I had to navigate everything on my own. While some families had more present parents, it was a rarity. This was our reality.

We aimed to avoid including modern elements, which proved challenging. Many suitable locations had been modernised or demolished, requiring us to recreate various elements. Simultaneously, we did not want the film to feel overly nostalgic. The primary distinction lies in the absence of modern gadgets. During that time, VHS tapes were the norm.

I believe that small gestures and decisions can have a profound impact on our lives. A mistake or a seemingly insignificant action can unexpectedly alter our course. By weaving these moments together, we shape Tonia’s story. I wanted to depict their daily lives and be there with them as they embarked on their journeys of self-discovery.

Anna Buryachkova‘s “Forever-Forever” offers a captivating exploration of teenage life in 1990s Kyiv, unveiling the darkness, complexity, and resilience of its characters. Through meticulous storytelling and a talented cast, the film transports viewers into an era fraught with uncertainties, where the essence of youth perseveres amidst the turmoil.

The post “Forever-Forever”, Interview with Director Anna Buryachkova and actress Alina Cheban appeared first on Fred Film Radio.

In a recent interview with Fred Film Radio, co-directors Austin Stark and Joseph Schuman discussed their latest film, “Coup!”, in Giornate degli Autori section. The darkly comic thriller, set during the 1918 Spanish Flu epidemic, explores themes of class struggle and social divide. Austin Stark and Joseph Schuman, friends since childhood, drew inspiration from the recent pandemic, which led them to create a story that delves into the dynamics between the wealthy and the working class.

The film follows the character Jay, played by Billy Magnussen, a U.S. journalist seeking refuge on a luxurious island estate with his family and servants during the chaos of the Spanish Flu. When a mysterious grifter named Floyd, portrayed by Peter Sarsgaard, arrives as their cook, he sees an opportunity to upend the social order and spark a rebellion to seize the mansion.

Austin Stark and Joseph Schuman revealed that their early inspiration for “Coup!” came from observing New Yorkers with means fleeing to places like The Hamptons during the pandemic. Magnussen’s character, Jay, was partially shaped by former CNN anchor Chris Cuomo, who broadcasted from his basement in The Hamptons, blurring the lines between the city and the countryside.

While the Spanish Flu serves as the backdrop, Schuman emphasized that it was used as the “canvas” to maroon the characters on a deserted island, allowing them to explore the dynamics of the employer-employee relationship when the social order breaks down.

According to Schuman, “These broad-scale emergencies have a way of betraying the fault lines of the class system, which was deeply appealing to us to write about.”

Turning the clock back 100 years, Stark and Schuman aimed to create a layer of distance from the contemporary setting, ensuring that “Coup!” wasn’t perceived as a COVID film. The progressive era of the early 20th century mirrored present-day conflicts, providing an opportunity to examine how little has changed in terms of class struggle.

Peter Sarsgaard was the filmmakers’ top choice to play the role of Floyd, the chef-hatted rebel. His calculated energy and ability to portray dark characters made him a perfect fit for the role. On the other hand, casting Billy Magnussen as the tormented character Jay was a departure from his typical roles as the tormentor.

In addition to the core cast, Fisher Stevens makes a cameo appearance as the real-life muckraker Upton Sinclair, showcasing the film’s unique blend of historical elements and contemporary themes.

While Austin Stark and Joseph Schuman acknowledge drawing inspiration from films like “Parasite”, their intention was not solely to create an “eat the rich” narrative. By bringing Jay and Floyd together under one roof, they aimed to explore the immediate conflict between characters representing different facets of a polarised society, adding a “darkly esoteric edge” to the story.

As Austin Stark concluded, “We weren’t thinking so much about it being an ‘eat the rich’ film as much as just doing something original and something that appealed to us, that spoke to our class struggle and social divide.”

In “Coup!” Austin Stark and Joseph Schuman offer a thought-provoking take on societal dynamics and class disparities, creating a sub-genre of cinema that continues to evolve and captivate audiences.

The post “Coup!”, Interview with directors Austin Stark and Joseph Schuman and actor Billy Magnussen appeared first on Fred Film Radio.

Fred Film Radio recently interviewed Fidel Devkota about his latest film, “The Red Suitcase”, featured in the Orizzonti section of the 80th Venice Film Festival.

In the scenic landscape of the 2023 80th Venice Film Festival, Fidel Devkota‘s “The Red Suitcase” unfolds a narrative that interweaves elements of Nepalese folklore and the economic challenges faced by the region. The film, written and directed by Fidel Devkota and produced by Ram Krishna Pokharel and Shova Thapa for Icefall Productions, in collaboration with Film Council Productions and Cine Sankipa, boasts a talented cast including Saugat Malla, Prabin Khatiwada, Bipin Karki, Shristhi Shrestha, Sonam Lama, and Anju Deuja.

At its core, “The Red Suitcase” tells a minimalist story: a man driving a pickup truck embarks on a journey to make a remote mountainous delivery. Along the way, he encounters another solitary man, dragging a red suitcase behind him.

The film delves into the sentiments of Nepal’s youth, set against the backdrop of a significant economic crisis that has cast a shadow of uncertainty over the region. Despite these challenges, “The Red Suitcase” doesn’t shy away from drawing upon Nepal’s rich mythology and legends. Fidel Devkota‘s intention was to create a cinematic work that could seamlessly blend the local anthropological characteristics with the art of storytelling.

The director himself reveals that he incorporated numerous elements from local traditions, such as incense and road-side mirrors believed to appease deities. “We sought surreal landscapes that conveyed melancholy, mirroring the solitude of our protagonists. We utilized elements of classical cinematography, heavily influenced by the works of masters like Kenji Mizoguchi, Yasujiro Ozu, and Hou Hsiao-hsien” explains Fidel Devkota.

Fidel Devkota is a Nepalese director and screenwriter who made his debut in 2014 with a short film titled “The Last Yak Herder of Dhe” , for which he also penned the screenplay. In 2016, he directed the medium-length documentary “Wind of Change in Lo Mustang” focusing on the impact of climate change on one of the world’s most fragile ecosystems, the Himalayan region of Nepal, particularly zooming in on the Mustang region.

This intriguing blend of cultural elements and contemporary challenges makes “The Red Suitcase” a film worth exploring, and Fidel Devkota‘s vision and dedication to his craft shine through in this cinematic endeavor.

The post “The Red Suitcase”, Interview with the director Fidel Devkota appeared first on Fred Film Radio.

Mexican director Michel Franco is back in the Venice film Festival competition, for the 80th edition, with Memory, his first film led by Jessica Chastain and Peter Saarsgard.

It’s only the first collaboration with these two american actors of many he hopes to have in the future.  Chastain and Saarsgard play Sylvia and Saul, two people meeting by chance and sort of slowly recognizing each other in their loneliness and choice of living at the margins of society.

Franco agrees that Memory explores both the concept of memory and of identity and it is, in a way, a love story as pure and fresh as those we live when we are coming of age. Memory also deals with mental illness and reflects on how people struggling with such issues is often, in the name of love, not allowed to live and enjoy life as every human being should.

The post “Memory”, interview with director Michel Franco appeared first on Fred Film Radio.

With Bastarden – The Promised Land, screening in competition at the 80th Venice International film festival, Danish director Nikolaj Arcel is back at directing a period film with Mads Mikkelsen playing a captain, in 1755, with a seemingly impossible goal: to build a colony in the name of the King.

Inspired by Ida Jessen’s novel, Nikolaj Arcel’s intention was to tell an epic tale, with the structure of a classical film: “The way we tell the story is old school cinema“. As Arcel then points out, the film aims at showing us how you can never know which direction life is gonna take you.

As the villain of the story, Arcel chose Simon Bennebjerg, who describes how he approached the role, trying not to judge his character’s evil behavior and getting at the core of the reasons why he is who he is.

The post “Bastarden”, interview with director Nikolaj Arcel and actor Simon Bennebjerg appeared first on Fred Film Radio.

For his twelfth film, “The Killer“, in competition at the 80th Venice International Film Festival, the director David Fincher reunites with Andrew Kevin Walker, with whom he created the indelible serial killer thriller “Se7en” (1995).

Adapted from the acclaimed graphic novel written by “Matz” (Alexis Nolent), the film explores the boundaries of the revenge movie and sees Michael Fassbender in the role of a hitman failing at his main task and being threatened because of this.

In his production notes, David Fincher writes: “We thought it would be interesting if the ‘cool’ assassin movie tropes were all taken away”. The director describes how he decided to let the audience into the protagonist’s train of thoughts as to understand that “what he does and what he thinks do not match”.

“The Killer“ releases globally on Netflix November 10, 2023.

The post “The Killer”, interview with the director David Fincher appeared first on Fred Film Radio.

In the heart of Venice’s Giornate degli Autori, director Chong Keat Aun presents his remarkable film “Snow in Midsummer.” The movie delves into the harrowing events of May 13, 1969, when a violent uprising broke out in Kuala Lumpur after contentious post-election tensions. This dark chapter in Malaysia’s history, swiftly suppressed with bloodshed, is a story that has long been relegated to the shadows. Chong Keat Aun’s film, however, brings this forgotten tale to life, and he sits down with Fred Film Radio to discuss his journey in creating this impactful work.

Chong Keat Aun begins by emphasizing the power of cinema in sharing stories like these, which often cannot be openly discussed in his homeland. He sheds light on the difficulties faced during production, stating, “While I was shooting ‘Snow in Midsummer,’ many people asked me, ‘Are you sure you want to make this film? Because it might not be screened in Malaysia.‘” This highlights the inherent challenges of tackling a subject deemed sensitive by the authorities.

“Snow in Midsummer” unfolds its narrative from two distinct perspectives, one in 1969 and the other in 2008. The director’s choice to entrust these perspectives to women is rooted in a cultural context. Chong Keat Aun explains, “In Malaysia, and more broadly in Southeast Asia, women are the custodians of family memory. As I conducted my research on the tragedy of May 13 and visited the cemetery, I always saw many women. Men were absent. In Malaysia, it’s as if men are more rational, not allowing family members to speak about what happened, as it is a delicate matter. But in most cases, when it concerns their loved ones, women continue to seek answers.”

The director elaborates on the contrasting reactions of men and women regarding the events of May 13, 1969. He notes that men tend to show disinterest, urging others to forget. In contrast, women persistently question this dark history, which remains an enigma even today. Chong Keat Aun underscores that the true scale of the tragedy is still unknown, with the official national report citing over 100 casualties, while the actual number is believed to be much higher—possibly thousands. This history has been shrouded in silence for 64 years, passed down exclusively through oral accounts.

Delving into the complexities of the tragedy, Chong Keat Aun explains that Malaysia gained independence in 1957, becoming a multiracial nation with Chinese, Indian, and indigenous communities, albeit in the minority compared to Malays and Muslims. The events of May 13, 1969, unfolded during the nation’s third general national elections, which saw a significant loss of votes for the ruling party. The turmoil quickly escalated into a racial issue, a narrative that worked in favor of the ruling party. Chong Keat Aun points out that this narrative, driven by fear, was successfully exploited to maintain power.

Addressing the contemporary relevance of these events, the director suggests that a similar situation could arise today. He notes, “If you want another May 13, just vote for the opposition party. The elderly are terrified because they lived through the events of 1969. Even today, when discussions about that event arise, they remain silent and request others to do the same. This is also true for the film. I chose a very poetic way to tell the story; otherwise, it would have been impossible to make.”

Chong Keat Aun has revisited the cemetery numerous times over the years to converse with the families of the victims. He acknowledges the profound impact of these encounters, particularly the resilience of women. He recounts stories of women who, year after year, return to the cemetery, still seeking answers. One woman lost her younger brother, mother, and aunt that fateful night. Each of them continues to ponder why the truth about this tragic event has not been revealed yet. The women, in their unwavering commitment to uncover the truth, have left a lasting impression on the director.

The Chinese opera “Snow in June” holds significant importance in the film’s narrative. Chong Keat Aun explains that on that fateful night in May, an opera singer died and was buried in the same cemetery. During his research, he discovered a member of that opera troupe who revealed that they were performing “Snow in June,” an ancient story dating back to the Ming Dynasty. This story revolves around women who suffer abuse and escape their hometown, making a solemn vow: if they are truly innocent, snow will fall even in the summertime. Chong Keat Aun sought to intertwine the film’s narrative with that of the opera, creating a layered and poignant storytelling experience.

The discovery of mass graves in 2009 marked a pivotal moment in the journey to uncover the truth. Chong Keat Aun’s research continued until 2018, a significant year as it coincided with the opposition party’s historic victory, toppling the incumbent government. In this same year, the threat to destroy the cemetery—a living testament to the events of May 13—was averted. Chong Keat Aun also explains that 2018 marked the year when he created the initial short film on this topic, which eventually evolved into the full-length feature in 2020.

Many elements in the film, such as the announcement of martial law, are based on historical records. These records and voice recordings were obtained from the families of victims who had diligently collected evidence and documentation over the years, fully aware that no one else would help them. They entrusted Chong Keat Aun with this material, imploring him to be their voice and ensure that this history would not be forgotten.

Chong Keat Aun’s “Snow in Midsummer” is not only a cinematic masterpiece but also a testament to the resilience of memory and the courage to confront a painful past. It serves as a powerful reminder that some stories must be told, regardless of the challenges they pose, to ensure that the truth is

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