FRED Film Radio - English Channel

In competition at the 80th Venice International Film Festival, director Michael Mann brings the 12th film of his career, Ferrari, along with protagonist Adam Driver, playing Enzo Ferrari, the italian ex-racer and entrepreneur behind the legendary brand.

The director explains why, despite loving racing cars, he decided to focus on the person Enzo, his grief for the loss of his son, his relationship with the women of his life, his approach to racing, his passion. “I love racing cars but that doesn’t mean you make a motion picture about it, what’s meaningful and significant is the human” says Mann.

Adam Driver, who again plays an italian man after the experience on the set of House of Gucci, agrees with his director and confirms that it’s rare and interesting that the character is the focus of the movie considering that the racing story part was very appealing for the audience. 

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Interview during the 80th edition of Venice International Film Festival with Yorgos Lanthimos, director, and Robbie Ryan, cinematographer, of the film in competition “Poor Things”, produced and starred by Emma Stone. She is absent from the festival due to the actors’ strike, alongside her fellow actors Willem Dafoe and Mark Ruffalo.

The conversation revolves around the importance of premiering this film in Venice, the construction of the magnificent sets from scratch (and the huge amount of light they needed) and of course the fact that the actors in the film couldn’t come to Venice to support the production.

“Poor Things” is the story of Bella Baxter, a childish woman trapped in the body of an older one. Her father (“God” to her) is a scientist that looks at life in a cold and analytic way. One day she discovers that her desire, before getting married, is travelling the world. Emma Stone was involved with the production since “The favourite“, a film very present at the Oscars, with Olivia Colman winning the Best Actress statuette.

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Every day from the Venice Lido, Rita Di Santo hosts in the studios of FRED Film Radio several film journalists and 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 Kevin Maher (Chief Critic of Times) and they discusse together about the films screened on the first day of the Mostra, “Ferrari” and “Dogman”.

The post Highlights and film critics from the 80th Venice Film Festival – episode 1/09 appeared first on Fred Film Radio.

At the heart of the 80th Venice Film Festival, “Stolen” emerges as a compelling narrative, in the section Orizzonti Extra, that delves into the depths of unseen realities. We had the privilege to sit down with the visionary director behind this film, Karan Tejpal, as he shared insights into his creative process and the profound themes that drive the story.

“Stolen”, directed by Karan Tejpal, made a significant impact at the festival, gaining recognition as India’s sole selection. The film takes audiences on a thought-provoking journey through the collision of divergent worlds. As we sat down with Karan Tejpal, he revealed his deliberate choice to adopt a raw and unfiltered approach in crafting the film. This decision aimed to immerse viewers in the intricate lives of the characters, allowing them to experience the search for truth and justice alongside the protagonists.

“In crafting ‘Stolen,’ I deliberately chose to embrace a raw, unapologetic cinema verite style,” Karan Tejpal explained. This approach not only adds authenticity but also engages the audience in a visceral manner. The film captures the essence of life’s complexities, shedding light on the often-overlooked aspects that shape our society.

“Stolen” delves into the poignant narrative of an impoverished mother’s desperate journey to reunite with her child. Two city men, played by Abhishek Banerjee and others, inadvertently become entwined in her quest. The film’s rawness and unapologetic portrayal of life’s harsh realities stand as a testament to Karan Tejpal‘s commitment to delivering a unique cinematic experience.

The journey of “Stolen” extends beyond its narrative, as it marks the feature debut of Karan Tejpal as a director. Previously contributing to acclaimed Bollywood films such as “Lage Raho Munna Bhai” and “3 Idiots,” Karan Tejpal brings a wealth of experience to the table.

With ‘Stolen,’ Karan Tejpal have distilled the art of producing an irresistible work of cinema which can be consumed globally, opening the IP to million possibilities. The film’s independent creation and dedication to authenticity shine through in every frame.

As the interview continued, Karan Tejpal expressed his earnest intention to bring forth the hidden truths that shape our society. He stated, “‘Stolen’ is my earnest attempt to bring to light the unseen realities that shape our society and to provoke introspection on the issues that matter most.” The film’s exploration of complex themes such as truth, justice, and the intricacies of human relationships resonates deeply with audiences.

The impact of “Stolen” is far-reaching, as the film’s international sales are handled by the Paris-based sales company Charades. The director shared his enthusiasm for the film, highlighting its unique portrayal of an unexplored facet of Indian society.

In conclusion, “Stolen” is not merely a cinematic creation but a journey that encapsulates raw emotions, unfiltered truths, and the very essence of humanity. Through the lens of Karan Tejpal, the film transforms into a captivating exploration of the unseen realities that shape our lives.

The post “Stolen”, Interview with Director Karan Tejpal appeared first on Fred Film Radio.

At the 80th Venice Film Festival in the section Orizzonti, “Explanation for Everything” emerged as a compelling exploration of society’s complexities and the uncharted territory of youth in Hungary. Fred Film Radio had the privilege of interviewing Hungarian director Gábor Reisz, the creative mind behind this thought-provoking film, which marks his third feature after “For Some Inexplicable Reason” and “Bad Poems.”

The journey of “Explanation for Everything” began with a simple idea, one that would eventually unravel into a captivating narrative. The film tells the story of a student who wears a nationalist badge during a crucial exam, only to fail and resort to deception when facing his father. It was this initial premise that ignited the creative spark for Gábor Reisz and his co-screenwriter Éva Schulze, who served as both mentor and teacher.

During the initial phases of development, Gábor Reisz took a unique approach to character construction. He immersed himself in the characters’ world by writing in the first person singular for three months. This deep dive allowed him to craft multifaceted characters that would be central to the film’s narrative.

The turning point in the film’s creative process came with the decision to start the story on the night before the exam. This choice presented the opportunity to explore every facet of the characters’ lives, delving into their motivations, fears, and aspirations. With the story now in motion, the team quickly moved from script to shooting, embarking on a journey that would captivate audiences.

While “Explanation for Everything” delves into the intricacies of Hungarian youth, it was not born out of political motivation. Instead, it evolved from personal experiences and observations. During the film’s inception, Hungary witnessed a student blockade, a protest against educational reforms. Artists, including filmmakers, rallied in support of these young protesters, inspiring Gábor Reisz to explore their stories and motivations.

The heart of the film beats to the rhythm of education—a theme that resonates deeply with the director. The pressure exerted by parents, the pursuit of academic success, and the role of a history teacher become focal points within the narrative. It’s a reflection of the challenges faced by youth when navigating the delicate transition from adolescence to adulthood.

One of the film’s remarkable achievements is its avoidance of excessive political Manicheism. Gábor Reisz takes a balanced approach, mirroring his own uncertainty about political affiliations. The characters are presented in their entirety, showcasing both positive and negative aspects. This nuanced portrayal extends to society itself, highlighting the traumas and grievances of both political camps.

“Explanation for Everything” also addresses the influence of media hype and fake news. This theme draws from the distortions observed during the film school protests, shedding light on the power of media in shaping perceptions.

The film’s narrative structure, spanning ten days with distinct chapters for each character, adds a layer of complexity and engagement. Gábor Reisz finds joy in experimental storytelling, embracing the challenge of crafting a narrative that resonates in a landscape filled with countless stories.

In terms of mise en scène and photography, the film adopted a Dogma-style approach due to budget constraints. Natural light, minimal camera movements, and realistic sets created an authentic atmosphere. This approach allowed for flexibility and improvisation, enhancing the film’s authenticity.

As “Explanation for Everything” prepares for its release in Hungary on October 5, the director remains open to diverse reactions. He hopes that the film will serve as a catalyst for dialogue and debate, bridging the gaps in a society marked by complexity and a need for communication.

The post “Explanation for Everything”, interview with director Gábor Reisz appeared first on Fred Film Radio.

Director Ibrahim Nash’at and producer Shane Boris talk about the documentary “Hollywood gate” screening Out of Competition at the 80th Venice International Film Festival.

The day after the US withdrawal from Afghanistan, the Taliban immediately moved to occupy the Hollywood Gate complex, claimed to be a former CIA base in Kabul. The Taliban found what the most technologically advanced military in history left behind: aircraft, weapons, and valuable military equipment. Baffled by the technology, Malawi Mansour, the newly assigned Air Force commander, orders his soldiers to inventory and repair everything they can. Mukhtar, motivated to one day conquer the world, arrives at Hollywood Gate aiming to build a high-ranking military career.

While Malawi Mansour and Mukhtar are focused on maximizing their own personal objectives, their comrades continue to repair the weapons left behind at Hollywood Gate. AK-47s that were once used by the US and NATO are now in the hands of the Taliban; helicopters and fighter jets that were thought to be destroyed now lethally bomb the opposition, creating untold collateral damage in the process; and the use of international documentarians for the purposes of propaganda is now underway.

Over the course of one year, the film exposes the transformation of a fundamentalist militia into a military regime.

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Every day from the Venice Lido, Rita Di Santo hosts in the studios of FRED Film Radio several film journalists and 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 Daniel Kothenshulte (Fipresci), Volodymyr Chernyshev (Feulleiton Media) and Adriana Fernandez (Fipresci), and they discusse together about the films screened on the first opening day of the Mostra.

The post Highlights and film critics from the 80th Venice Film Festival – episode 31/08 appeared first on Fred Film Radio.

“Milk”, the first film written and directed by Stefanie Kolk explores a quite unusual and taboo topic in cinema: the loss of a baby and the breast milk that continually reminds the mother of the physical relation with her stillborn baby.

What to do with this milk? Robin decides to donate it, but this choice turns out to be more difficult than she thought…



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Entrevista en la edición número 80 de la Mostra de Venecia con Mariana Arriaga y Santiago Arriaga, directores, y Federica García, actriz, de “A cielo abierto”, que concursa en la sección Orizzonti del festival. La cinta fue escrita por el prestigioso Guillermo Arriaga, padre de los cineastas, hace tres décadas… y ahora ellos se han hecho cargo de la historia con él como productor.

En la conversación abordamos sus sensaciones ante el estreno de su primer largometraje (habían colaborado previamente en varios cortos), valoramos la importancia de Guillermo Arriaga en este proyecto y les preguntamos por sus impresiones acerca de la huelga de actores y guionistas que está afectando a Hollywood.

La película aborda una tragedia familiar. Dos años después de la trágica pérdida de su padre en un accidente de coche, los hermanos Salvador y Fernando se encuentran atrapados en el descontento generado por la nueva dinámica familiar. La llegada de un padrastro y una hermanastra invade su hogar y ocupa los espacios que una vez pertenecieron a su padre.

The post “A cielo abierto”, entrevista con los directores Mariana Arriaga y Santiago Arriaga y con la actriz Federica García appeared first on Fred Film Radio.

In a candid conversation with Ayat Najafi, the visionary Iranian filmmaker behind “Aftab mishavad (The Sun Will Rise)”, we delved into the intricate layers of his latest work that boldly explores themes of rebellion, empowerment, and artistic expression. Set against the backdrop of Tehran in October 2022, the film showcases a theatre troupe rehearsing “Lysistrata” , an ancient Greek comedy that resonates deeply with the tumultuous atmosphere of the city.

Ayat Najafi shared his motivation for choosing this narrative, explaining how it mirrors the real-world events that unfolded during the production. “In September 2022, I traveled to Iran to work on another film, and suddenly I found myself in the middle of an uprising, a revolution that had already begun before the tragic death of Mahsa Jina Amini in the custody of so-called moral police. But her death was the beginning of a new era in Iran’s current history” , Najafi revealed. The profound impact of these events on him and the country inspired him to craft a story that captures the essence of resistance and the yearning for change.

The heart of “Aftab mishavad” lies in its exploration of how art can serve as a vehicle for defiance. As the theatre ensemble finds itself trapped within their rehearsal space, surrounded by the chaos of an uprising, they confront their roles as artists and citizens. The lead actress’s determination to take to the streets and join the protests reflects the unyielding spirit of those seeking transformation. Ayat Najafi elaborated on this, stating, “Despite disagreements, one thing is clear for everyone: the ensemble does not want to continue the show in times of revolution. Moreover, they have decided not to work anymore under censorship and the rules of the regime”. The juxtaposition of artistic creativity against a backdrop of societal upheaval highlights the power of art as a catalyst for change.

Discussing the filmmaking process, Ayat Najafi emphasized his commitment to authenticity and creative collaboration. The inclusion of four strangers from the street, unexpectedly entering the rehearsal room, serves as a powerful metaphor for the intrusion of the outside world into the artistic sanctuary. “The sudden entry of four strangers from the street transports the terrifying reality of the outside into this closed and isolated environment”, Ayat Najafi stated. This element of the story brings an element of unpredictability, mirroring the unpredictability of real-world events that inspired the film.

Najafi’s previous documentary work has garnered international acclaim, and “Aftab mishavad”, in Giornate degli Autori section, continues his legacy of addressing thought-provoking topics with artistry and depth. His ability to merge experimental and documentary elements shines through as the film portrays the actors’ improvisations based on the stories unfolding outside the rehearsal room. Through this creative process, Ayat Najafi showcases the resilience and determination of individuals in the face of adversity.

As we concluded our conversation, Najafi’s passion for his craft and his dedication to storytelling that resonates deeply with societal currents was evident. “Be that as it may, today’s Iran and its young generation are at a point of no return” , Najafi mused. With “Aftab mishavad” , Najafi has crafted a cinematic reflection of this turning point, a poignant exploration of how art can both mirror and drive societal transformation. The film, marking a significant moment in Ayat Najafi‘s career, stands as a testament to the enduring power of film to amplify voices, question norms, and ignite change.

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