FRED Film Radio - English Channel

In our usual annual chat, Pascal Diot, director of the Venice Production Bridge, highlights the evolutions and new aspects of this year’s market, that has become one of the most effective and well positioned ones in the festival circuit. the classic structure of the event has been enhanced with new sections and events to cove r al the needs and requirements of the  international film and tv production world.

Like every year, Venice Production Bridge hosts more than 60 projects to be developed and co-produced, in the Gap Financing, Immersive and Biennale College domains, hosting two countries as guests, Germany and Quebec. The Book Adaptation Market as well is booming, forcing VPB to launch a call for entries as the numbers of editors to be included is limited.

Meet The Streamers is a dedicated area of panels and meeting dedicated to the world of streamers, both big and small, to foster collaborations and co-production. As Pascal Diot says, streamers are no enemy for Venice and for the film industry, they are partners to work with.

VR, XR  are the fastest and most widely developing areas in the media productive world; the main issue abut them  is how to find a commercial way to reach the breakthrough it is needed. The Venice Production Bridge will try to bring the discussion to the next level.

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In an exclusive interview with Fred Film Radio during Locarno Film Festival, Lav Diaz provided a unique insight into his thoughts on his native Philippines’ current situation and his resolute dedication to the art of filmmaking.

Expressing his concerns about the precarious state of affairs in the Philippines, Diaz highlighted the risks cultural workers face, often being unjustly labeled as ‘communists’ and consequently targeted. He acknowledged the scarcity of platforms to showcase his films, leading to their distribution for free. Despite these challenges, Diaz stressed the significance of acknowledging reality, addressing pertinent issues, and persevering with creative endeavors, drawing a sobering parallel with Salman Rushdie’s experiences.

During the interview, Diaz delved into his forthcoming world premiere at the Locarno Film Festival, “Essential Truths of the Lake.” Set to compete in the Golden Leopard’s main competition, the film sees Diaz reuniting with the character Hermes Papauran from “When the Waves Are Gone,” portrayed by John Lloyd Cruz. Diaz’s narrative delves into the haunting unsolved case of a woman’s disappearance, confronting the deeply rooted issues of rape, molestation, and macho culture pervasive in society. Diaz’s storytelling challenges conventions, urging women to reclaim their voices against powerful perpetrators.

Diaz, renowned for his genre-defying approach, shared his enthusiasm for exploring new dimensions within the framework of a ‘cold case’ narrative. He candidly addressed the weight of global concerns such as conflicts and human suffering, underlining the resilience required for creators to continue their work in the face of adversity. Diaz emphasized the urgency of countering indifference and denial, rallying fellow writers and filmmakers to uphold their commitment to effect change.

Though “Essential Truths of the Lake” diverges from Diaz’s typically lengthy films, he affirmed his dedication to pushing cinematic boundaries. He tantalizingly hinted at an upcoming 13-hour film, celebrating the liberating nature of filmmaking.

Diaz’s approach to filmmaking goes beyond artistic endeavors; it’s a vehicle for representation and empowerment. Rooted in his upbringing and his parents’ advocacy for indigenous tribes, Diaz champions narratives that reflect the concepts of refuge and home. His collaborative filmmaking style, engaging non-professional actors, amplifies the voices of specific communities, fostering a sense of inclusivity.

In his conversation with Fred Film Radio, Diaz’s humility and empathy shone through. He challenged the label of being an auteur, emphasizing his desire to create narratives that resonate emotionally. Diaz’s films serve as a conduit for social change, echoing the values instilled by his parents’ selfless dedication.

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In a captivating interview, María Gisèle Royo and Julia de Castro, the brilliant minds behind the visionary film “On the Go” offer an in-depth glimpse into their creative journey sharing their thoughts with the main actor Omar Ayuso. The film stands as a testament to their unwavering commitment to innovation, pushing the boundaries of cinema and storytelling.

Set to world premiere in Locarno’s Cineasti del Presente, “On the Go” captures much of the spirit of the freewheeling road movie through an Andalusia of music, dance, sex and sensuality. Maria Gisèle Royo and Julia de Castro revisits from a female perspective an extraordinary Andalusian feature, 1982’s “Corridas de Alegría”.

From the moment the idea for “On the Go” was conceived, Maria Gisèle Royo and Julia de Castro embarked on a mission to create a cinematic experience like no other. The film emerged as a natural evolution from their previous work, “Corridas de Alegría”, bearing the indelible marks of their distinctive artistic vision.

In “On the Go” Maria Gisèle Royo and Julia de Castro shatter the confines of visual uniformity, opting for a diverse range of tones and aesthetics. Each scene, a masterpiece in itself, captures the essence of the moment and contributes to the dynamic tapestry of the narrative. The fusion of analog and digital techniques offers an immersive and visually striking experience that keeps the audience engaged.

Music continues to play a vital role in the heart of their storytelling. De Castro reveals the meticulous process of selecting tracks that resonate with the scenes and characters. From the ’70s and ’80s nostalgia to contemporary Spanish artists, the film’s soundtrack becomes a symphony that weaves seamlessly with the visuals, amplifying emotions and intensifying connections.

One of the defining characteristics of “On the Go” is the commitment to capturing authentic moments. Royo explains how their deliberate decision to work with limited footage led to a sense of immediacy and spontaneity on set. Scenes were often captured in a single take, capturing genuine reactions and emotions that infuse the film with an undeniable vitality.

As the interview unfolds, it becomes evident that “On the Go” is not just a film; it’s a dynamic artistic experiment. Royo and de Castro’s holistic approach to storytelling blurs the lines between traditional and avant-garde cinema. The inclusion of exposure errors, burns, and scratches during editing adds an organic touch, embracing the imperfections that make their work distinctively raw and experimental.

The impact of “On the Go” extends far beyond the screen. It’s a testament to the boundless possibilities of cinematic expression and a nod to the evolving landscape of filmmaking. The film’s legacy is cemented by its ability to inspire viewers to embrace their unique creative visions and push the boundaries of conventional storytelling.

Dive into the heart of “On the Go” with an exclusive interview featuring María Gisèle Royo, Julia de Castro and Omar Ayuso. Experience the creative genius that fuels their cinematic magic and hear firsthand how the film redefines the art of storytelling.

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In an intimate conversation with Sylvain George, the visionary filmmaker behind “Obscure Night – Goodbye here, anywhere” (Nuit obscure – Au rétori ici, n’importe où), we are offered a profound insight into his captivating work. George’s film delves deep into the heart of migrant experiences, intertwining the political and the poetic to create a compelling narrative that resonates on both intellectual and emotional levels.

George’s connection with Melilla, the Spanish enclave situated at the crossroads of migration, dates back to 2006. A nascent filmmaker at the time, George found himself drawn to the poignant complexities surrounding European migration policies. Melilla’s unique geographical position, bordering Morocco and Europe, elevated it to a crucial stage for testing these policies. For George, it was an arena where the practical implementation of migration-related measures converged with the broader political discourse.

“Obscure Night – Goodbye here, anywhere” introduces audiences to a lesser-seen aspect of migration – the lives of minors and homeless migrants. Within the grim backdrop of societal neglect and cultural destitution, George recognizes the persistence of hope. The film portrays these individuals as beacons, both “detectors” and “sentinels,” revealing the potential for alternate worlds. Their audacious acts, symbolized by boundary-crossing and language-inventing, challenge the norms that confine them.

Engaging with these marginalized individuals transformed George’s perspective on filmmaking. The responsibility of conveying their stories with the required political and poetic weight was profound. While his ethical and political compass had always guided his artistic endeavors, the intimate interactions with these youths fueled a deeper commitment to truth-telling. George’s exploration extended beyond the confines of a documentary lens; it became a conduit for giving voice to the dispossessed and bringing forth the beauty hidden within adversity.

As we immerse ourselves in Sylvain George’s profound exploration of migrant lives through “Obscure Night – Goodbye here, anywhere”, the film becomes a canvas for the tales of the marginalized, the seekers of a better life. George’s journey through Melilla opens up a window to the struggles, aspirations, and resilience of those often forgotten by society. His narrative, marked by poetic sensibility and political consciousness, transcends mere cinema, inviting us to confront the realities faced by the dispossessed and to appreciate the beauty that arises even in the harshest of circumstances.

The post “Obscure Night – Goodbye here, anywhere” (Nuit obscure – Au rétori ici, n’importe où), Interview with director Sylvain George at Locarno Film Festival appeared first on Fred Film Radio.

In an exclusive and illuminating interview, we sit down with the mastermind behind the captivating film “Todos los Incendios” Mauricio Calderón Rico. With candid insights and deep reflections, Rico offers an entrancing exploration into the cinematic labyrinth of his latest creation.

“Todos los Incendios” is a cinematic voyage that delves into the tumultuous world of Bruno, an enigmatic teenage pyromaniac. Fueled by the conflicting emotions stemming from his mother’s new relationship and his best friend’s romantic feelings, Bruno embarks on a journey to escape the confines of the city. His quest leads him on a path of self-discovery, ignited by an online encounter that forces him to confront his father’s untimely death and grapple with questions about his own sexuality. As Bruno leaves behind a trail of flames, both literal and symbolic, the narrative takes on a transformative trajectory that resonates with anyone who’s wrestled with their identity.

As the film unfolds, fire emerges as a potent symbol representing more than its destructive nature. Rico masterfully uses fire as a metaphor for the carnal desires and inner transformations that simmer within Bruno. Bruno’s struggle to contain these instincts finds expression through pyromania, setting the stage for a profound journey of metamorphosis. Rico’s skillful storytelling crafts a compelling parallel between the tangible fires Bruno ignites and the emotional ones that blaze within him.

Mauricio Calderón Rico’s creative alchemy becomes evident as we explore the depths of “Todos los Incendios”. Armed with a Master’s degree in scriptwriting and a background in Film and TV from Centro de diseño, cine y TV, Rico’s prowess in weaving intricate narratives is on full display. His earlier script, “Los Días Tristes”, secured support from the IMCINE Film Creators Stimulus, a testament to his narrative finesse.

Rico’s journey as a filmmaker is marked by triumphs and transformations. His participation in over 30 international festivals with his short films exemplifies his dedication to his craft. “Todos los Incendios” further solidifies his position as an emerging cinematic force. The film’s participation in esteemed programs like Cine Qua Non Lab and the Guadalajara Talents Script station underscore Rico’s commitment to pushing creative boundaries.

Rico’s influence extends beyond his individual accomplishments. As a founding member of the Colmena collective, he embodies the spirit of collaboration and innovative storytelling. This community of creators fosters an environment where unconventional narratives flourish, redefining the cinematic landscape.

A cinematic odyssey unveiled

As our conversation with Mauricio Calderón Rico unfolds, it becomes evident that “Todos los Incendios” is not merely a film; it’s a profound odyssey into the depths of human emotion and identity. Rico’s storytelling prowess paints a canvas that combines the visceral with the metaphorical, creating a film that is as thought-provoking as it is visually captivating.

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At the prestigious Locarno Film Festival, amidst the glitz and glamour of the cinema world, one film stands out for its profound exploration of human connection and environmental introspection. Lubdhak Chatterjee, a filmmaker known for his previous shorts and documentaries, marks his debut in the realm of fiction with his remarkable creation, “Whispers of Fire and Water”. This cinematic masterpiece takes us on a thought-provoking expedition to the coal mines of eastern India, a region marred by depleting natural resources and the eternal flame of coal mines.

The narrative revolves around an audio installation artist who embarks on a soul-searching journey to the coal mines, only to find himself perplexed by the intricate socio-political web woven there. Seeking solace, he stumbles upon a tribal village, where his urban perspective clashes with the elemental dominance of water, prompting him to question his own identity and beliefs.

Chatterjee shared his inspiration behind the film, stating, “The film emerged out of my personal experiences of traveling in mining as well as rural areas in the hinterland of mainstream development for various commissioned projects in the last six to seven years”. As he interacted with local communities, he found himself grappling with profound questions about his role as an artist and his responsibility towards society.

Jharia, a significant backdrop for the film, serves as a powerful metaphor for the struggle between nature and industry. With its coal mines burning for over a century, Jharia presents a stark contrast between historical imagery and its current state, symbolizing the pressing challenges humanity faces today.

“Whispers of Fire and Water” has garnered attention and acclaim, earning a nomination for the Green Pardo WWF environmental prize at the Locarno Film Festival, in alignment with the festival’s commitment to thought-provoking and socially relevant cinema. The film’s production is a collaboration between Little Lamb Films and Niv Art Movies, driven by a shared dedication to narratives that resonate with societal concerns.

Shaji Mathew of Niv Art Movies emphasized the film’s impact, saying, “A story with its protagonist going into the interiors of resource-rich central Indian forests to listen to and amplify the voices of the tribal communities made a substantial impact on us”. The film sheds light on the challenges faced by these communities, whose lives are often overshadowed by the extraction economy and environmental degradation.

Chatterjee’s next endeavor, a nonfiction project titled “Dancing in the Fire”, is a testament to his commitment to storytelling that challenges societal norms. As he encountered young girls exploring performing arts amidst the challenges of Jharia while filming “Whispers of Fire and Water”, a new narrative began to take shape.

In a country where financing independent films remains a challenge, Little Lamb Films has taken a bold step to support debutant directors and their visions. The creators behind “Whispers of Fire and Water” faced both ease and difficulty in bringing their vision to life, drawing from their own resources to finance a film that holds a mirror to society’s most pressing issues.

As “Whispers of Fire and Water” continues to resonate with audiences and critics alike, Lubdhak Chatterjee’s exploration of self, society, and the environment serves as a testament to the power of cinema to ignite conversations and inspire change.

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In our interview with director Ryoo Seung-wan we talked about on how he stands out as a master of reinvention. With a remarkable filmography that includes hits like “Veteran” (2015) and “Escape from Mogadishu” (2022), Ryoo Seung-wan is known for his distinctive action-packed narratives. However, he thrives on the challenge of evolution, constantly pushing the boundaries of his craft.

In an exclusive interview with us at Locarno Film Festival, Ryoo shared his creative philosophy, emphasizing the importance of avoiding creative stagnation. “There is nothing more dangerous than repeating yourself. As a filmmaker with over a decade of feature films under my belt, I have my own style. Yet, my ambition lies in renewing myself and striking a balance between familiarity and innovation”, Ryoo explained.

His latest cinematic venture, “Smugglers”, is a testament to his commitment to exploring uncharted territories. Set against the backdrop of a tranquil seaside village in the 1970s, the film takes an unconventional approach by featuring an ensemble cast of strong female characters in an action-packed narrative – a rarity in the genre.

Ryoo elaborated on this unique choice, stating, “Female divers serve as a pivotal element of the film’s premise, so it felt natural to have them as the lead characters. However, the film isn’t centered on gender roles or feminist discourse. It delves deeper into the intricate relationships between the characters themselves”.

Within “Smugglers”, Kim Hye-soo and Yum Jung-ah shine in their roles as Chun-ja and Jin-sook, respectively. Ryoo shared insights into his casting decisions, revealing his deep admiration for their craft. “My association with Kim dates back to my time as an assistant director. Her close-up shots were so mesmerizing that they illuminated the monitor. As for Yum, her performances are subtle yet leave a lasting impact. Her ease on screen is matched by a powerful presence”, Ryoo shared.

Delving into his cinematic preferences, Ryoo expressed his affinity for narratives centered around betrayal and reconciliation. “These stories possess an innate drama that captivates audiences. ‘Smugglers’ also tackles themes such as the decline of small towns, the peril faced by female divers, and the burdens of being a firstborn daughter from Jin-sook’s perspective”, he added.

As the conversation shifted to the state of the Korean film industry, Ryoo candidly addressed the challenges. “Filmmakers should strive to create better films. Since I aspired to be a filmmaker, the industry has always faced periods of crisis. It’s like lamenting over a struggling economy every year. As filmmakers, we must unite and produce better content”, he emphasized.

The film as expressing both excitement and apprehension about “Smugglers”, Ryoo revealed his desire for the film to spark conversations. “I’m eager to see the audience’s response to the film. I want discussions to ensue – be it about the music, action sequences, fashion, or the performances. The worst outcome would be no reaction at all”, he admitted.

With the competitive summer box office landscape in mind, Ryoo expressed a refreshing perspective on success. “I’m relieved that each summer film brings its unique charm. I’m not drawn to the numbers game; I simply hope the audience enjoys our film”, he shared.

As “Smugglers” premiered at the Locarno Film Festival, Ryoo Seung-wan continues to prove his mettle as a visionary filmmaker, unafraid to challenge conventions and ignite thought-provoking discussions.

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In the dynamic realm of experimental cinema, Eduardo Williams continues to push artistic boundaries, delivering a fresh cinematic experience that blurs the lines between traditional filmmaking and contemporary art. His latest creation, “The Human Surge 3” (El Auge del Humano 3), showcased at the Locarno Film Festival‘s international competition, is a continuation of his innovative approach. Williams, known for his distinctive style and abstract-concrete narratives, takes audiences on a journey across continents and perspectives, embedding meaning within every frame.

In our interview we talked about a key aspect of Williams’ cinematic journey is his unique camera choice, which resonates deeply with the film’s essence. Filmed entirely with a panoramic 360° camera equipped with eight distinct lenses, the images were initially intended for VR viewing. However, Williams seamlessly transformed this cutting-edge technology into a rectangular cinematic format, offering a visual feast of distorted landscapes and enthralling juxtapositions. The resulting images bend, sway, and merge, creating a visual symphony that captivates the audience.

The film’s unconventional camera placement contributes to a deliberate detachment from its subjects, fostering a sense of distance and surveillance. Conversations become disassociated from moving lips, emphasizing an undercurrent of observation and detachment. Subtitles in white and yellow appear like commentary overlaying the images, a stylistic choice that adds complexity to the viewing experience.

As the film weaves through locales in Peru, Taiwan, and Sri Lanka, it paints vivid portraits of landscapes that have existed for centuries. Yet, Williams’ lens imbues them with a digital veneer, hinting at an underlying current of surveillance in our digitized world. The landscapes, once only accessible through Google Earth on screens, come alive on the cinema screen, filtered through Williams’ unique perspective.

In the context of these diverse locations, “The Human Surge 3” raises questions about representation and reality. Williams challenges viewers to consider the complexities and contradictions of the spaces he presents. The film’s subjects, non-professional individuals whose faces remain anonymous, showcase emotions that range from anger to disillusionment. From Canadian salt mines to exclusive tourist enclaves adjacent to marshlands, the film confronts the stark disparities that persist in these seemingly idyllic locales.

However, Williams’ enigmatic approach leaves room for interpretation. His deliberate choice to maintain a level of stylistic distortion can sometimes obscure direct understanding. Viewers are left to discern the connection between the visual abstractions and the portrayed issues of alienation and youth’s loss.

In a global collaboration that spans across continents, “The Human Surge 3” emerges as a coalescence of artistic energies. With co-productions spanning Argentina, Portugal, Brazil, the Netherlands, Taiwan, Hong Kong, Sri Lanka, and Peru, the film’s creation mirrors its themes of interconnectedness and shared experiences.

Williams’ work, showcased on the world stage of the Locarno Film Festival, underscores the ever-evolving potential of cinema to blur the lines between mediums and provoke contemplation. “The Human Surge 3” is a testament to Williams’ unceasing commitment to innovation, compelling audiences to engage with the nuances of our fragmented, globalized world.

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In the ever-evolving landscape of American cinema, filmmakers find themselves navigating uncharted waters. This was the case for director Bob Byington, whose latest work, “Lousy Carter”, premiered not on home turf but across the ocean, at the prestigious Locarno Film Festival. The festival, known for its appreciation of experimental and daring cinema, proved an intriguing stage for Byington’s creation.

“Locarno’s preference for innovative and audacious cinema aligns with the spirit of ‘Lousy Carter’ in unexpected ways. While not an austere or experimental work, the film offers a fresh perspective, defying traditional genre boundaries” Byington shared during our interview.

“Lousy Carter” introduces audiences to a character as unique as its festival choice. The titular Lousy, portrayed by David Krumholtz, is a failed animator turned literature professor, whose life takes an unexpected turn upon learning of his limited time left on Earth. American films often follow predictable paths when characters face such life-altering news, but Byington subverts these conventions, challenging Lousy to find meaning in his final moments.

David Krumholtz, a familiar face from his early roles to more recent appearances, tackles the role of Lousy with a nuanced touch. “David’s charm on screen is undeniable, even when portraying complex characters like Lousy. His ability to infuse sympathy into the role underscores the human struggle Lousy faces”, Byington explained.

“Locarno’s embrace of diverse storytelling and perspectives resonates with ‘Lousy Carter’s’ narrative. The film’s portrayal of Lousy’s journey to make sense of his life resonates universally, while offering a distinctive lens on the challenges of midlife reflection”, Krumholtz added.

The film is set in Austin, Texas, capturing the essence of academia and its eccentricities. Byington’s direction skews toward the unconventional, crafting a story that resonates with a blend of humor and existential contemplation. “Lousy Carter” navigates themes like love, regret, and the pursuit of purpose, offering a reflection on the choices we make.

As the film industry continues to evolve, Byington and Krumholtz acknowledge the shifting landscape. “While ‘Lousy Carter’ may not fit the mold of today’s cinema, it represents a moment in time. As filmmakers, we adapt to the changing tastes and preferences of audiences” Byington reflected.

Krumholtz added: “The industry’s evolution challenges us to create work that stands out and resonates with audiences. ‘Lousy Carter’ is a reminder that every film carries its unique voice, waiting to find its audience.”

With “Lousy Carter” making its mark on the international stage of the Locarno Film Festival, Byington and Krumholtz demonstrate the fluidity of storytelling, transcending boundaries and celebrating the art of cinema.

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In Ira Sachs’ new film Passages, presented at the Berlinale 2023 with Protagonist Franz Rogowski acting beside Ben Whishaw and Adèle Exarchopoulos, relationships are at the center.

As Love has no gender, comment director Sachs and actor Rogowski, what about cheating and jealousy? How can relationships evolve when the issues of love, trust and jealousy are common to any relationship, regardless the gender of the lovers?

“It is a question of commitment and balance” say the two, “but this balance can be shaken”.

Passages will be out in Italian cinemas from August 17th.

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