FRED Film Radio - English Channel

PODCAST | Chiara Nicoletti interviews Domien Huyghe and Wendy Huyghe, director and screenwriter of the film Sea Sparkle.

Sea Sparkle is the opening film in the Generation KPlus section at the Berlinale Film Festival. A delicate film about grief and the importance of accepting and (then) sharing your emotions. We talked with Damien and Wendy Huyghe, director and screenwriter of the film, that told us about the birth of this film, what it means to them, and much more…

Sea Sparkle: Lena loves the ocean. Battling the wind and waves on her sailing boat, she is as passionate and fearless as her father on his fishing expeditions. But one day, he and the rest of his crew do not return. Some say it was an accident; others say he had been reckless. Lena is sure it could not have been his fault. They must have encountered a gigantic sea creature, causing the boat to capsize. The signs are everywhere: from a shadow in the water, to a large tooth stuck in a piece of driftwood. If only she could find that one, decisive piece of evidence, she could stand up to her family and friends and prove them all wrong. Thus begins a requiem of rage and a tale of letting go and of holding on – to the inexplicable, and to one another.

To discover more about the Berlin International Film Festival, click here.

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PODCAST | Chiara Nicoletti interviews Aliocha Schneider, Agathe Bonitzer, actors of the film Music.

Protagonists of Angela Schanelec’s Music, in competition at the 73rd Berlinale,talk about the wise freedom the director gave them in this Oedipus myth transposition to the big screen.

Music: Abandoned at birth in the Greek mountains on a stormy night, Jon is taken in and adopted, without having known his father or mother.. As a young man, he meets Iro, a warden in the prison where he is incarcerated after a deadly tragic accident. She seems to seek out his presence, takes care of him, records music for him. Jon’s eyesight begins to fail… From then on, for every loss he suffers, he will gain something in return.Thus, in spite of going blind, he will live his life more fully than ever

To discover more about the Berlin International Film Festival, click here.

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PODCAST | Federica Scarpa interviews Tatiana Huezo, director of the film The Echo.

In the Encounters section of the 73rd Berlinale Film Festival, the new film by Tatiana Huezo, The Echo. The director tells us through the eyes of the children who live in a small village in Northern Mexico, a hidden and unknown world to most, but in which great universal truths can be seen again. Tatiana tells us why she decided to tell this story, what she discovered while shooting at El Eco, and what her intentions were.

The Echo: A young mother runs across a mountain meadow with her children and they save a sheep from drowning. A girl cares for her elderly grandmother so tenderly that you want to cry while another practices being a teacher with just the right tone of voice, her dolls lined up before her as willing pupils. The fathers are mostly absent: as construction workers or tradesmen, they rarely share their daily lives with their families. In El Eco, a remote village in northern Mexico, life consists of the most elementary things. Being a child here is an intense experience from day one, involving nature, animals and people. But also love, intimacy, illness and death. And education – at least for the younger generation.

To discover more about the Berlin International Film Festival, click here.

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PODCAST | Chiara Nicoletti interviews Tibor Bánóczki and Sarolta Szabó, directors of the film White Plastic Sky.

With their first feature animation film, White Plastic Sky, at the 73rd Berlinale in the Encounters section, Hungarian filmmaker duo Sarolta Szabó and Tibor Bánóczki talk about a dystopian future where the human race is trying to survive. As our world has changed during the years the duo worked on the film project, the directors talk about how close to our Poly-Crisis reality the film feels.

White Plastic Sky: 2123. Faced with diminishing resources, the human race can only survive through a trade-off: at the age of 50, every citizen is gradually turned into a tree. When Stefan discovers that his beloved wife Nora has voluntarily signed up for donating her own body before her time, he sets out on an adventurous journey to save her at all costs.

To discover more about the Berlin International Film Festival, click here.

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PODCAST | Chiara Nicoletti interviews Dennis Ruh, director of the European Film Market.

Dennis Ruh, Director of the EFM since the end of 2020, is looking forward to his first EFM in person after 2 years of online editions due to pandemic restrictions. The historical market location Martin Gropius Bau is ready to host more than 11,500 participants, more or less the same amount of the pre-pandemic editions and the EFM team has worked hard to concentrate all the market activities such as market screenings, conferences and panels in the Potsdamer Platz area so that all industry professionals can make the most out of their time in Berlin.

The European Film Market is one of the top three meeting places of the international film and media industries. Its close links with the Berlinale as a public film festival, and its position at the heart of Berlin’s vivid creative economy, are defining characteristics of the Berlinale’s film market. Yet the EFM is more than just an agile marketplace for trading film and audiovisual content – it has also positioned itself as a platform for innovation and change. Over a period of eight days, around 10,000 representatives of the international film and media industries – primarily producers, buyers and sales agents, distributors and financiers – come together to network, exchange, inform themselves and do business. As the first major film market of the year, the EFM is in a strong position and serves as a compass, barometer and pacesetter for the new film year: new productions and developments, future-proof business models, contacts and contracts – it all starts here. The EFM’s varied locations range from the beautiful Gropius Bau to elegant Marriott Hotel, modern Berliner Freiheit or the historic Zoo Palast. A professional infrastructure for exhibitors, state-of-the-art cinemas, numerous market premieres and outstanding service via close customer and partner relationships distinguish the film market as a first class trading platform. The EFM serves the diversity and breadth of requirements for its different participant groups, focusing on networking, exchange, information and the constant integration of new players.

To discover more abount the European Film Market, click here.

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PODCAST | Chiara Nicoletti interviews Carlo Chatrian, the artistic director of the Berlin International Film Festival.

As on his blog on the Berlinale website, Artistic Director Carlo Chatrian wrote: “A festival programme is, even more than just a (hopefully coherent) line-up of films, the result of a year’s worth of work, of meetings, of travel, of frequently unexpected and instantaneous viewings”, in this interview he tells us what we should look forward to, in this edition. Chatrian talks about gender equality, inclusion and representation in this year’s program and also how Berlinale keeps being a festival that is very connected to what happens in the world, especially in terms of politics and social problems. The Artistic Director finally confirms that he is looking forward to an edition that will be the first after 2020 where we can all go back to enjoying the festival experience at its fullest, with no restrictions.

Berlinale is a unique place of artistic exploration and entertainment. It is one of the largest public film festivals in the world, attracting tens of thousands of visitors from around the globe each year. For the film industry and the media, the eleven days in February are also one of the most important events in the annual calendar and an indispensable trading forum. The Berlin International Film Festival enjoys an eventful history. The festival was created for the Berlin public in 1951, at the beginning of the Cold War, as a “showcase of the free world”. Shaped by the turbulent post-war period and the unique situation of a divided city, the Berlinale has developed into a place of intercultural exchange and a platform for the critical cinematic exploration of social issues. To this day it is considered the most political of all the major film festivals. The Berlinale brings the big stars of international cinema to Berlin and discovers new talents. It accompanies filmmakers of all disciplines on their paths into the spotlight and supports careers, projects, dreams and visions. Thanks to its numerous industry initiatives, the Berlinale is a significant driver of innovation and an important economic factor internationally as well as for companies in Germany and Berlin.

To discover more about the 73° edition of Berlin International Film Festival, click here.

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PODCAST | Chiara Nicoletti interviews M. Night Shyamalan, director of the film Knock at the cabin.

With his magnetic and disquieting look at the world in Knock at the cabin – Bussano alla porta, M. Night Shyamalan, in Rome to present the film to the italian audience, proves us, through an apocalypse, that human beings are all connected, whether we like it or not. The film is based on the best selling novel The Cabin at the End of the World by Paul Tremblay to which Shyamalan gave his Hitchcokian but hopeful atmosphere. The director confirms the homage to Hitchcock and walks us through the fil rouge of all his films: family.

Knock at the cabin: While vacationing at a remote cabin, a young girl and her parents are taken hostage by four armed strangers who demand that the family make an unthinkable choice to avert the apocalypse. With limited access to the outside world, the family must decide what they believe before all is lost. From visionary filmmaker M. Night Shyamalan, Knock at the Cabin stars Dave Bautista (Dune, Guardians of the Galaxy franchise), Tony award and Emmy nominee Jonathan Groff (Hamilton, Mindhunter), Ben Aldridge (Pennyworth, Fleabag), BAFTA nominee Nikki Amuka-Bird (Persuasion, Old), newcomer Kristen Cui, Abby Quinn (Little Women, Landline) and Rupert Grint (Servant, Harry Potter franchise).

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PODCAST | Chiara Nicoletti interviews the scriptwtriter and festival programmer Elma Tataragić.

She’s one of the guests of honor at the 34th Trieste Film Festival: Elma Tataragić, award winning screenwriter and festival programmer is the protagonist of a masterclass at the festival which title is: “The passion and the responsibility of storytelling”. Tataragić tells us more about the themes of the masterclass and about her work as scriptwriter.

The Trieste Film Festival welcomes the screenwriter Elma Tataragić for a masterclass held at Teatro Miela. Tataragić has been a contributor of the Sarajevo Film Festival since its launch in 1995 and has written screenplays for films such as God Exists, Her Name is Petrunya by Teona Mitevska .

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PODCAST | Federica Scarpa interviews Mila Turajlić, director of the documentary Non-Aligned: Scenes from the Labudović Reels.

At the 34th Trieste Film Festival, director Mila Turajlić presents a Documentary diptych made with never-before-seen 35mm material filmed by Stevan Labudović, Yugoslav president Tito’s cameraman. In Non -Aligned, we discover the background of the first summit of the Non-Aligned Movement, which was born in the 60s to protect states that did not want to side with the two superpowers of the Cold War. With the director Mila Turajlić we talk about her great and very long research work in the Filmske Novosti archive, her meeting with Stevan Labudović, and her cinema as guardian of history.

Non-Aligned: Scenes from the Labudović Reels: The diptych Non-Aligned & CinéGuerrillas: Scenes from the Labudović Reels is both an archive-based film and the story “behind the images” as narrated by Stevan Labudović, a Yugoslav newsreel cameraman who followed President Tito for over 25 years. The film examines how a global project of political emancipation was shaped by the cinematic image.

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PODCAST | Federica Scarpa interviews Nadia Parfan, director of the film I did not want to make a war film.

Nadia Parfan was not in Ukraine when the war broke out a year ago. One night she dreamed of a road that led her home, and she embarked on a very long and difficult journey to return to her city and tell her friends, her family, and Ukrainian citizens. We met her at the 34th Trieste Film Festival and asked her about this courageous decision.

I did not want to make a war film: In the wake of a full-scale invasion the Kyiv director finds herself in a small Bedouin village in the Middle East, a place that is warm, safe but far from home. After having a prophetic dream, she decides to return to Kyiv where the conflict is still unfolding. She manages to cross the threshold of her home, but the house itself is forever changed.

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