FRED Film Radio - English Channel

Interview during the 80th edition of Venice International Film Festival with Luàna Bajrami, director of the film “Phantom Youth (Bota Jonë)” in its original title in Albanian). The movie, premiered in Orizzonti Extra, takes place several years after the war in the Balkans, and revolves around the lives of two teenagers that try to find their place in the world.

Luàna Bajrami is also an actress, and during her interview with FRED she tells us that her work in movie sets throughout the years was a great directing school. In fact she reveals that she began acting in order to become a moviemaker someday. And she was particularly interested in the dreams and aspirations of young people.

“Phantom Youth” takes place in Kosovo in 2007. Zoé and Volta leave their remote village to enter Pristina University. Amidst social and political tensions, the two women discover a country in turmoil, seeking its identity on the eve of independence and whose youth has been forgotten.

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We talk with Valentina Martelli, founder and CEO of ITTV Festival, told us about how about The audiovisual industry met at the ITTV International Forum and Tech In Entertainment, and she announces the dates for ITTV and TIE in Los Angeles, October 30 to November 1 at Neue House in Hollywood.

Valentina Martelli told us about the two panels, happened in Venice, to talk about the changes in technology applied to entertainment and the evolution of Italian storytelling which has crossed the borders of our country for years. 2017 was the key year which favoured the customs clearance of Italian series in the world, with the arrival of Suburra on Netflix and which saw the entry into force of the Cinema Law.

As Valentina Martelli declares, the United States remains the largest market in the global “streaming wars”, with revenues of $49.4 billion in 2022. By the end of 2027, they will reach $75.5 billion, recording more than threefold growth in a decade. This is the reason why ITTV talks need to be done also in the heart of the interntitonal film industry,.

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Interview during the 80th edition of Venice International Film Festival with Fien Troch, director of the film “Holly”, and actress Cathalina Geeraerts. The movie, in competition for the Golden Lion, tells the story of a girl that is able to predict a fire in her high school. After that tragedy, everyone considers her a gifted healer and asks for her help.

Our interview with Troch and Geeraerts addresses the presence of the film in Venice and how was the process of casting Cathalina, being “Holly” her first film. The director explains the meaning of the film and how she worked with the leading actress in order to disect the script.

“Holly” takes us to a high school that is mourning the loss of 10 students in a tragic fire. That very morning, a really upset Holly (Geeraerts) calls in to say she’s not going to class cause something very bad was going to happen. Months after the incident, one of the teachers convinces the girl about her “powers” and encourages her to help other people.

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Every day from the Venice Lido, Rita Di Santo hosts in the studios of FRED Film Radio several film critics who will comment on the films in Competition and Out of Competition, the actors and actresses attending the festival, as well as take you into the magical atmosphere of the Venice Film Festival.

In this first episode of Global Critics Venice Voice Rita Di Santo hosts Lee Marshall (Screen International), Daniel Kothenschulte (Frankfurter Rundschau) and Volodymyr Chernyshev (Feulleiton Media), and they discuss together about the films screened in these days, “Io Capitano (Me Captain)”, “Origin” and “Lubo”.

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In the realm of contemporary cinema, some voices emerge as fresh, powerful, and utterly unique. One such voice is that of Mika Gustafson, the director of “Paradise is Burning,”, in section Orizzonti, a film that challenges conventions and explores the delicate balance between freedom and despair. I had the privilege of sitting down with Gustafson to delve deeper into her creative process and the intricate layers of her debut feature film.

“Paradise is Burning” takes us on a journey through the lives of three sisters, Laura, Mira, and Steffi, who find themselves navigating the complexities of life in the absence of their mother. Set against the backdrop of a working-class suburb during summertime, the film offers a glimpse into a world where joy and freedom coexist with moments of profound loneliness. It’s a story that resonates with anyone who has experienced the unique bond of siblinghood.

One of the most striking aspects of the film is Gustafson’s choice to work with non-professional actors, including the talented Bianca Delbravo, Dilvin Asaad, and Safira Mossberg in the title roles. This decision brings an authentic and raw quality to the performances, allowing the audience to connect with the characters on a deeper level. Gustafson’s background in working with non-professional child actors shines through in her ability to capture their genuine emotions and inner lives.

When asked about her approach to directing, Gustafson emphasized the importance of creating a safe and collaborative environment on set. She believes that filmmaking is about fostering moments of true magic, where actors feel free to explore their characters and emotions. Her dedication to the well-being of her cast is evident in the film’s powerful performances.

The visual style of “Paradise is Burning” is another noteworthy element. Shot in a 4:3 aspect ratio with a patinated and gentle cinematography, the film creates a sense of nostalgia that tugs at the heartstrings. Gustafson’s vision for the film was clear from the beginning – she aimed to craft a cinematic experience that was poetic, playful, and punk all at once. This unique blend of styles serves as a testament to her artistic vision and ability to push boundaries.

As we delved further into Gustafson’s journey, it became evident that her background played a significant role in shaping her artistic approach. A graduate of Gothenburg’s Valand Academy, she brings a philosophical and analytical perspective to her work, coupled with a dedication to her craft that mirrors the discipline of elite sports. This combination of influences has allowed her to create films that challenge perceptions and offer audiences something truly unique.

Gustafson’s feature debut has not been without its challenges, but she thrives on the complexity of storytelling. Her ability to tackle intricate scripts and transform them into cinematic gems is a testament to her talent and dedication. When asked about what’s next for her, Gustafson hinted at another collaboration with Alexander Öhrstrand, promising more thought-provoking and boundary-pushing cinema in the future.

In conclusion, Mika Gustafson’s “Paradise is Burning” is a testament to the power of cinema to capture the essence of human experience. Her unique approach to storytelling, dedication to her cast, and bold artistic vision make her a rising star in the world of cinema. As we eagerly await her future projects, one thing is certain – Gustafson’s voice will continue to resonate and challenge the boundaries of storytelling in film.

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In an intimate conversation with Fred Film Radio, Teona Strugar Mitevska, the acclaimed director of “God Exists, Her Name Is Petrunya,” delves into her latest project, “21 Days Until the End of The World“, in the section Giornate degli Autori. This documentary, presented as a special event at the Venice Film Festival’s Giornate degli Autori, captures Mitevska’s journey during the pandemic, offering a unique and challenging cinematic experience.

Mitevska doesn’t shy away from acknowledging the demanding nature of her film, emphasizing the importance of not underestimating the audience’s intelligence. She believes in engaging viewers in a narrative that pushes boundaries, sometimes even unsettling them. For her, it’s not about pandering to expectations but about challenging the audience to evolve, take risks, and embrace courageous storytelling.

The title itself, “21 Days Until the End of The World,” reflects the 21 days of solitude, confusion, introspection, and, at times, sheer boredom that Mitevska experienced during lockdown. While acknowledging the film’s demanding nature, she finds it crucial to engage viewers actively, even if it means discomfort at times. Mitevska sees it as her duty as an artist and filmmaker to create thought-provoking cinema that pushes the boundaries of conventional storytelling.

The pandemic and lockdown, which brought death and uncertainty to the forefront of everyone’s minds, profoundly influenced Mitevska’s work. It made her realize the importance of not squandering time and the necessity of continuous creation and courage. The pandemic, in her view, stripped away the non-essential and propelled her forward with newfound determination.

“21 Days Until the End of The World” challenges cinematic conventions with its unconventional use of language and framing. Mitevska intentionally plays with aesthetics, often choosing to frame beauty in unexpected ways—cutting off heads, focusing on hands, and emphasizing the essence of each moment. She considers this personal freedom to create as the essence of her artistry.

Through this personal and audacious film, Mitevska hopes to inspire courage in her audience. As a woman from the Balkans, an artist, and a director, she has often navigated the challenges of waiting for acceptance, recognition, funding, and visibility. Her self-portrait during the pandemic celebrates the courage to be unapologetically free and true to oneself, challenging conventions and norms.

“21 Days Until the End of The World” also serves as a reminder of humility in the face of nature’s relentless march. The film captures the beauty, power, harshness, and cruelty of the natural world, reminding us of our insignificance in the grand scheme of things.

Mitevska’s presence in a festival showcasing numerous films by female directors reflects the progress made in the film industry. Festivals and programmers bear significant responsibility in creating spaces for these voices to emerge and be heard, gradually altering the course of history.

Teona Strugar Mitevska’s journey during the pandemic, as depicted in “21 Days Until the End of The World,” encapsulates her unwavering commitment to brave, challenging storytelling and a celebration of the courage to be free. It is a reminder that there are no rules in art, as long as you have something to say, the rest will follow.

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In our exclusive interview at Fred Film Radio with Céline Sciamma, the renowned director of “This is How a Child Becomes a Poet,” in the section Giornate degli autori, we delved into her captivating journey through the world of cinema and her unique approach to storytelling. Sciamma’s career trajectory, from a student of French literature to a celebrated filmmaker, is a testament to her artistic evolution.

As we conversed with Sciamma, it became clear that her transition from screenwriter to director was not merely a professional pivot but a profound realization of her storytelling potential. She admitted that, initially, she struggled to connect her writing with the intricacies of directing. However, it was the encouragement of fellow filmmakers that illuminated her path forward, leading to the creation of her debut feature film, “Water Lilies”.

Throughout her interview, Sciamma emphasized the importance of understanding the relationships between writing and directing. She highlighted that crafting a screenplay involves contemplating how to translate it into a visual medium. This synergy between writing and directing is at the heart of her creative process and has allowed her to craft narratives that resonate deeply with audiences.

Sciamma’s cinematic influences have played a pivotal role in shaping her artistic vision. While she acknowledged the impact of filmmakers like David Lynch and Patricia Mazuy, she also expressed a deep admiration for lesser-known women filmmakers. Sciamma’s commitment to discovering and celebrating the works of Alice Guy, Mabel Normand, Chantal Akerman, Yannick Bellon, Germaine Dulac, and Marie Epstein underscores her dedication to amplifying women’s voices in cinema.

One of the most striking aspects of Sciamma’s filmography is her unwavering focus on female adolescence. In a genre where “coming-of-age” narratives often center on boys, Sciamma’s films shine a spotlight on young girls navigating the complexities of youth. This paradigm shift challenges established cinematic conventions and offers a fresh perspective on the adolescent experience.

Sciamma emphasized that her films are not about changing narratives solely because the characters are female; they are about challenging existing structures. Her characters’ gender is not the primary focus; it’s their subjectivity and the unique situations they face that drive the narrative. Sciamma’s commitment to portraying the depth and complexity of her female characters sets her films apart in the industry.

Throughout the interview, Sciamma’s dedication to exploring the solitude of characters and the power of the female gaze emerged as recurring themes. She believes that cinema, more than any other art form, can authentically convey the solitude of characters. Her films, characterized by raw vulnerability and intimate storytelling, showcase the profound impact of the female gaze on the cinematic landscape.

Sciamma’s meticulous attention to sound and music in her films enhances the emotional resonance of her stories. From the evocative score of “Portrait of a Lady on Fire” to the contemporary hits in “Girlhood,” music serves as a powerful storytelling tool in her hands. It is through this auditory landscape that she deepens the emotional connection between her characters and the audience.

Her collaboration with cinematographer Claire Mathon further exemplifies her commitment to a shared creative vision. Sciamma and Mathon engage in extensive discussions that extend beyond technical aspects, delving into the philosophical underpinnings of each project. Their collaboration has produced visually stunning and thematically rich films that continue to captivate audiences.

Céline Sciamma’s films are a visual and emotional feast, drawing inspiration from feminist artists of the 1970s and beyond. Her commitment to representing diverse art forms within her films, from painting and drawing to embroidery and music, enriches the cinematic experience. Her dedication to celebrating the arts and showcasing their impact on human expression is evident throughout her work.

In addition to her filmmaking prowess, Sciamma’s advocacy for gender equality in the film industry is noteworthy. She co-founded the Collectif 50/50, an organization that champions gender parity in French cinema. Her contributions have sparked crucial conversations and initiatives aimed at addressing the gender imbalance within the industry.

As we concluded our interview with Céline Sciamma, it became evident that her cinematic journey is far from over. Her commitment to pushing the boundaries of storytelling, amplifying underrepresented voices, and challenging established norms continues to shape the future of filmmaking. “This is How a Child Becomes a Poet” stands as a testament to her unwavering dedication to feminist storytelling and her ability to craft narratives that resonate deeply with audiences.

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In “Snow Leopard (Xue Bao)“, nella sezione Fuori Concorso, gli affascinanti paesaggi e l’enigmatico leopardo delle nevi stesso svolgono un ruolo fondamentale.

Jinpa spiega che girare in luoghi così mozzafiato ha permesso loro di entrare in contatto con l’essenza dell’altopiano tibetano e della sua gente. Xiong Ziqi ha aggiunto che il film trasmette l’idea che la natura non è qualcosa di separato dagli esseri umani; piuttosto, gli esseri umani ne sono una parte intrinseca. Le interazioni dei loro personaggi con il leopardo delle nevi simboleggiano questa interconnessione.

Per ritrarre in modo autentico l’altopiano tibetano, gli attori hanno intrapreso ricerche approfondite per comprendere la cultura, le tradizioni e la vita quotidiana del popolo tibetano. Sottolineano l’importanza di immergersi nell’ambiente per apprezzarne appieno il significato.

Jinpa e Xiong Ziqi spiegano che per ottenere l’autenticità in queste interazioni è necessaria una profonda comprensione del comportamento e delle caratteristiche dell’animale. Hanno lavorato a stretto contatto con esperti per garantire che le loro rappresentazioni fossero autentiche e rispettose. Il leopardo delle nevi rappresenta più di un semplice animale; incarna il delicato equilibrio tra uomo e natura, evocando un senso di meraviglia e rispetto nei personaggi.

Jinpa e Xiong Ziqi notano che i loro personaggi, Jinpa e Aku, rappresentano prospettive diverse su questo tema. Jinpa tende alla tradizione, mentre Aku è più aperto alle idee moderne. Questa dinamica ha permesso loro di approfondire le complessità di questo scontro e di sottolineare che non esistono risposte facili. Il film incoraggia gli spettatori a impegnarsi in discussioni ponderate sulla conservazione del patrimonio culturale.

Entrambi gli attori esprimono la loro ammirazione per la narrazione visionaria di e il suo amore per l’altopiano tibetano. Credono che “Snow Leopard” ispirerà il pubblico ad apprezzare la bellezza della natura e a riflettere sul loro ruolo nel preservarla. L’eredità di Pema Tseden sopravvive attraverso questo film, portando un messaggio profondo sulla nostra connessione con il mondo naturale e sull’importanza del rispetto delle culture indigene.

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In an exclusive interview with Fred Film Radio, director Goran Stolevski and Alina Serban discussed their latest film “Housekeeping for Beginners” as it debuts at the Venice Film Festival’s Orizzonti (Horizons) competition.

Goran Stolevski‘s Macedonian film, “Housekeeping for Beginners”, marks his third feature and is set to make its premiere at the prestigious Venice Film Festival. Anamaria Marinca takes the lead role as a gay woman who opens her house as a safe haven for a group of queer individuals who have nowhere else to turn. When her partner becomes critically ill, she discovers she may also be responsible for her partner’s two young daughters.

Kristina Ceyton and Sam Jennings, the producing duo behind Stolevski’s first two films, “You Won’t Be Alone” and “Of An Age”, join as co-producers for this captivating project.

Goran Stolevski‘s journey to Venice has been nothing short of remarkable. His debut feature, “You Won’t Be Alone”, premiered at the Sundance Film Festival in 2022, earning acclaim and gaining the attention of Focus Features for a US release. This success propelled Goran Stolevski onto the radar of Hollywood, with Variety recognising him as one of its “10 Directors to Watch.” On the national front, the film became Australia’s submission for the Academy Award for Best International Feature.

Despite his prolific output, Goran Stolevski‘s path was not without challenges. He crafted 25 shorts over 17 years before “You Won’t Be Alone” and penned over a dozen feature scripts, but breaking into the Australian film industry for long-form projects proved to be an uphill battle.

“Housekeeping for Beginners” joins the impressive lineup of films competing at this year’s Venice Film Festival, including works by acclaimed directors such as Yorgos Lanthimos, Michael Mann, David Fincher, and Sofia Coppola. However, the festival, like Toronto, faces challenges due to ongoing actors and writers’ strikes in the US. While there’s a strong selection of US titles, strict strike rules may impact talent participation in premieres and festivals.

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In the enchanting coastal setting of northeastern Brazil, “Sem Coração” (Heartless) unfolds as a poignant coming-of-age tale. We had the privilege of sitting down with the talented directors, Nara Normande and Tião, to dive deeper into the film’s intricate layers and its impact on both the characters and the audience.

Set in the summer of 1996, the film follows Tamara’s final weeks in her fishing village before embarking on her academic journey in Brasilia. Tamara’s life takes an unexpected turn when she hears about a mysterious girl known as “Heartless” due to a distinctive scar on her chest. As the summer unfolds, Tamara’s curiosity and attraction toward this enigmatic figure grow.

Through the lens of a delightful vacation with friends, “Sem Coração” (Heartless) introduces us to Tamara, a young woman on the brink of self-discovery. A profound transformation occurs just before her departure, coinciding with her fascination with “Heartless.”

The character dynamics and their interactions are carefully crafted, mirroring the film’s evocative visuals and purposeful choice of locations. An expansive pool, a symbol of life’s mysteries, serves as the backdrop for a pivotal moment between Tamara and “Heartless.” As the rain covers the pool, cleansing it from the past, we witness a powerful metaphor of renewal.

Water, in its various forms, emerges as a central motif, binding the characters and their experiences. The sea’s ever-flowing nature parallels the evolving relationship between Tamara and “Heartless.” This film unearths the idea that, like water, life is in constant motion, always seeking renewal.

“Sem Coração” (Heartless) in the section Orizzonti is not merely a coming-of-age narrative but a profound exploration of connection, identity, and self-acceptance. As we immerse ourselves in the unique narrative crafted by Nara Normande and Tião, it becomes evident that the film’s magic lies in its ability to resonate with the audience.

The silence in the film, chosen by Tamara despite her friends’ support, speaks volumes about the complexity of human emotions. “Sem Coração” (Heartless) invites us to reflect on our own quests for self-discovery and belonging.

The film’s meticulous attention to detail, combined with the remarkable performances of its cast, makes it a triumph in storytelling. Through their insightful conversation, Nara Normande and Tião shed light on the elements that brought “Sem Coração” (Heartless) to life, making it a must-watch for all seeking a deeper connection with cinema.

As we conclude our conversation with these talented directors, we’re left with a profound appreciation for the film’s ability to touch our hearts and stir our souls. “Sem Coração” (Heartless) reminds us that, like Tamara, we are all on a journey of self-discovery, seeking the elusive connection that binds us to one another and to life itself.

For more in-depth insights into the film, you can explore our previous articles on Fred Film Radio and the official website of “Sem Coração” (Heartless). Don’t miss the opportunity to experience this mesmerizing narrative firsthand.

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