FRED Film Radio - English Channel

PODCAST| Angelo Acerbi interviews producer Eilon Ratzkovsky.

Eilon Ratzkovsky is an experienced film and TV producer with 25 years of history. He has a clear view on the world of film production and with his company Quiddity is providing high end content for TV series. He is the man to talk to if you want to know how to be a successful producer. And he shared some thoughts and suggestions with us.

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PODCAST| Angelo Acerbi interviews screenwriter and script editor Eszter Angyalosy.

Eszter Angyalosy is a book writer that shifted to screenwriting and consulting for movies and lately TV series. She talks with us about the differences of medias in terms of writing needs and the secrets about writing and developing the best TV series possible.

The post Eszter Angyalosy #TorinoFilmLab appeared first on Fred Film Radio.

PODCAST| Nicolò Comotti interviews Marco Müller, festival director and head of the jury.

Marco Müller, here in Lecce as head of the jury for the Olive Tree Award at the Festival del Cinema Europeo in Lecce, talks with us about his look on Cinema nowadays, its new ways of being and looking, and the importance of film festivals today, especially as entities with a clear message and goal such as Alberto Lamonica’s Festival del Cinema Europeo.

Marco Müller will chair the Jury of the “Golden Olive Tree” Feature Competition composed by Guillame Calop, Pippo Mezzapesa, Ana Urushadze and Olena Yershova, which will award the “Cristina Soldano Award” Golden Olive Tree for Best Film, the Special Jury Award, the Best Cinematography Award and the Best Screenplay Award. 12 films, selected by Alberto La Monica and Luigi La Monica, will screen for the first time in Italy, presented by their respective directors or some of the actors, who will meet the audience after the screening.

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PODCAST| Giorgia Gerina interviews Zoel Aeschbaher, director of the film Bonobo.

Zoel Aeschbaher talks about his movie, Bonobo, about himself and about his experience at the Skepto International Film Festival.

Bonobo: When the elevator of their public housign breaks down, the fates of Felix, a disabled pensioner, Ana, a single mother stuggling with her move and Seydou, a young man passionate about dance intertwine towards an explosive ending where their limits will be tested.

To discover more about the film, click here.

The post Zoel Aeschbaher – Bonobo #skeptoX appeared first on Fred Film Radio.

PODCAST| Samantha Sartori interviews Jules Rosskam, director of the film Paternal Rites.

Jules Rosskam today received a Special Jury Prize for World Social Impact at the 9th Annual Queens World Film Festival (amazing films from around the world and around the corner). We met Jules and talked about the making of his very personal and unique documentary, what it was like working with Neely Goniodsky on the animations, and how his family reacted to it and how their perspective changed after its world premiere at MoMA film.

Paternal Rites is a first-person essay film that examines the secret underbelly of a contemporary Jewish American family as they grapple with the aftereffects of physical and sexual abuse on their present-day lives. It is also a groundbreaking film about the nature of trauma and memory itself: the ways in which trauma encrypts in uncanny ways; the function of speech and narrative in the process of decryption; and the role of film and filmmaking in the practice of healing. Paternal Rites draws inspiration from podcasts like This American Life and Radiolab and the long lineage of LGBT essay filmmakers in the U.S. such as Jenni Olson, Marlon Riggs, and Richard Fung. Functioning as the film’s primary conceit, in the fall of 2013 filmmaker Jules Rosskam and his partner, Alex, set out to retrace a road trip that Rosskam’s parents, Marilyn and Skip, completed in the fall of 1974—just prior to his birth and their transition to suburbia and parenthood. The viewer hears audio diaries that Marilyn and Skip kept during the course of their four-month journey and sees photographs and travelogue footage recorded on Super 8: barely perceptible, grainy, and quickly receding signs and landmarks carry the viewer along their route: Boston, Mobile, Savannah, Chicago, Portland, Vancouver. The visual field of Paternal Rites is dominated by bright, pristine, and nearly-still images of the American landscape, which haunt the viewer with their splendor and banality, and with the layering of still images over live-action footage. Paternal Rites also utilizes the white screen, where colorful animations and beautifully rendered, hand-painted 16mm film are used to evoke the psychoanalytic process of memory’s retrieval and trauma’s repair. Implicit throughout is the filmmaker’s queer and transgender subjectivity, which floats to the surface of the screen as the viewer is confronted with fragments of home movies of his childhood—iconic in their unremarkability—and hears audio recordings of contemporary conversations between Rosskam and Alex, who functions as Rosskam’s partner in life as well as in this project of decoding his past on screen. Together, they create a stunning visual portrait about the power of film to transform us.

To discover more about the film, click here.

The post Jules Rosskam – Paternal Rites #QWFF2019 appeared first on Fred Film Radio.

PODCAST| Samantha Sartori interviews Larry Fessenden, director of the film Depraved.

The newest festival in New York City is What the Fest!?. In its second edition, the festival continues to upend conventional limitations, bringing the most innovative and audacious movies to the Independent Film Center. The world premiere of Depraved was selected for the opening night, and we had a blast talking with Larry Fessenden who wrote, directed, and edited the movie. Larry Fessenden delved into why he created his Frankenstein in a Brooklyn loft and told us how his love for both Mary Shelley’s story and its many cinematic adaptations (and he has watched all of them!) led him to the Creature’s design with his long time collaborators Brian Spears and Pete Gerner.

To discover more about the film, click here.

Depraved: A disillusioned field surgeon suffering from PTSD makes a man out of body parts and brings him to life in a Brooklyn loft. Larry Fessenden’s interpretation of Mary Shelley’s iconic story Frankenstein is a personal meditation on memory, alienation, parenthood, and the physical and mental shocks of life. Steeped in the timeless themes of the source material, and evoking the myriad literary and cinematic iterations that have followed, Depraved casts an eye at monsters and the monstrous in everyday life.

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PODCAST| Sarah Bradbury interviews Michael Blyth, senior BFI Flare programmer.

We sit down with the senior programmer of BFI Flare, Michael Blyth, who spoke to is about London’s LGBTQ+ film festival including the festival highlights, its reputation for providing a platform for the best in contemporary queer cinema and the importance of pushing boundaries and prompting conversations about queer representation on the big screen.

BFI Flare: London LGBTQ+ Film Festival offers a vibrant and precious space for debate, compassion, community and empowerment. In a world where many people fear and loathe difference, audiences and filmmakers at BFI Flare defiantly assert that love is a human right. We celebrate sexual and gender diversity – all this, while watching great films from around the globe. Every year we endeavour to curate a Festival that speaks to anyone and everyone who occupies a space under the LGBTQ+ umbrella. As we embark on our tireless search for the best in contemporary queer cinema, we are constantly surprised and encouraged by the work we discover. This is a fruitful time for queer representation on screen, something which will become clear as you browse the Festival, encountering stories with the potential to inspire joy and sadness, courage and action. Still, as we seek out work for the Festival, we inevitably find that while some groups are served in abundance, others remain, shall we say, cinematically undernourished. One of the many exciting aspects of this year’s BFI Flare is seeing some of those under-represented communities find their voices on the big screen. Intersex identities are explored in documentaries such as No Box for Me. An Intersex Story and A Normal Girl, as well as the ground-breaking short Ponyboi, the first intersex narrative film made by an intersex artist. The seldom discussed subject of asexuality is addressed in the charming short Infinite While It Lasts, hopefully a sign of more asexual stories to come. Meanwhile, films like JT LeRoy, Two in the Bush: A Love Story and Splinters (to name a few) place bisexuality very much at their centre. For too long bisexuals have been given the celluloid cold-shoulder, but this year it looks like the tables might be turning. And if you ask us, that’s just brilliant. With a capital B.

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PODCAST| Chiara Nicoletti interviews Ivor Ambrose, managing director of the European Network for Accessible Tourism.

As keynote speaker of the 2019 edition of Arsad, Ivan Ambrose has opened a whole world to the accessibility professionals who often focus on the entertainment business, mostly audiovisual products. Managing director of the European Network for Accessible Tourism, Ambrose has talked about tourism as a human right and as such, something that people should always be able to do, whatever their physical condition is. Ivan Ambrose then speaks about the Accessible Tourism Supply Chain and how it can be developed. If only one element of the chain is failing, then the whole system will shut down. In Ambrose’s abstract, there’s also an analysis on The European Accessibility Act, 2019 that was recently passed with a detailed list of the achievements and the elements that are still a work in progress.

This presentation puts the spotlight on the tourism industry and, in particular, on the increasing demands for “accessible” experiences for all visitors. People with disabilities and the massive numbers of senior travellers clearly have a stake in the delivery of accessible tourism environments and services but, taking a global view, progress towards ensuring equal access for all visitors is typically very “patchy” or even nonexistent. The tourism industry as a whole needs to do better but given the multi-facetted characteristics of the sector, how do we address this challenge? What role can we play? Information management plays a crucial role in enabling travel and tourism, at all stages of the visitor journey and across the service delivery chain. Information and communication technologies are, indeed, changing the way we search, book, check-in, travel and experience our surroundings. With mobile devices we can browse a menu and order a meal, followed up with a multimedia message to family, friends and rating websites. Gradually, multi-modal systems and devices are bringing possibilities to groups of people who were previously ignored or who were excluded by technologies. I believe there are many “bright spots” and good practices in the tourism field that give us hope and perhaps point the way to a better future, where all people will have the confidence and ability to travel and where truly accessible experiences are increasingly available. As researchers and developers let us consider how we might take up the challenge of acting as intermediaries between the tourism providers, the cultural and creative industries and the visitors, with the goal of creating accessible tourism experiences for all.

To check out ARSAD complete programme, click here.

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PODCAST | Francesca Raffi interviews some of the experts in media accessibility. This episode is focused  on the LTA Project and includes contributions from Rocío Bernabé, Pilar Orero, Carlo Eugeni, Miriam Hagmann, Wim Gerbecks, Estella Oncins, Marcel Bobeldijk and Gabriele Sauberer.

To listen to this programme, click on the ► icon on the right, just above the picture

FRED is pleased to present the third episode of Accessible Cinema, a new periodical programme on media accessibility and inclusion, fostered by Sub-ti Access. This programme aims to inform its listeners and keep you updated on the status of media accessibility. We hope to raise awareness on accessibility in media and live entertainment, which is one of the 8 priority areas of the European Disability Strategy 2010 – 2020.

Rocío Bernabé is Deputy Head of the Professional College of Translation and Interpreting of the SDI in Munich (Germany) and tenured lecturer at the SDI University of Applied Languages. Together with Pilar Orero, Full professor of Audiovisual Translation at Universitat Autònoma de Barcelona (Spain), she introduces the Live Text Access Project and discusses about accessibility as a human right.

Carlo Eugeni is lecturer in Conference Interpreting at the SSML of Pisa (Italy) and he identifies the differences between respeakers and live-event subtitlers.

Miriam Hagmann, international project coordinator of the company ZDF Digital (Germany), talks about live subtitling at ZDF.

Wim Gerbecks is the co-founder of Velotype (Netherlands) and discusses the main application contexts of the Velotype keyboard.

Estella Oncins is a postdoctoral researcher at Universitat Autònoma de Barcelona (Spain) and she explains the importance of quality today in media accessibility.

Marcel Bobeldijk, President of the European Federation of Hard of Hearing People, tells us more about real-time subtitles and why they are so important.

Finally, Gabriele Sauberer, Vice-President of the European Certification and Qualification Association, shares her opinion on the importance of having educational and non-educational partners in the LTA Project.

To discover more about the LTA Project, click here.

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PODCAST| Sarah Bradbury interviews Marlena Lukasiak, artistic director of the Kinoteka Polish Film Festival in London.

The artistic director of Kinoteka Polish Film Festival, Marlena Lukasiak, speaks with us ahead of the 17th edition of the festival about the value of bringing Polish cinema and culture to London and the highlights of the programme including: a special night dedicated to the award-winning Cold War by Paweł Pawlikowski, a new generation of innovative female filmmakers, such as Olga Chajda, director of LGBT-themed Nina, a range of retrospectives, film and documentary screenings plus special events such as a Tate Late event on 90s Polish rave culture.

If Beale Street Could Talk: For the follow-up to his Oscar-winning Moonlight, director Barry Jenkins chose to adapt the 1974 James Baldwin novel If Beale Street Could Talk. The film tells the story of Tish and Fonny, played by KiKi Layne and Stephan James, whose childhood friendship blossoms into romance until a cruelly unjust criminal system allows Fonny to be jailed for a crime he didn’t commit. A strong supporting cast – Regina King, Colman Domingo – completes a beautifully crafted, visually powerful and elegiac screen version of a tale that carries with it timely themes of racial justice as well as a belief in love trumping all else.

Kinoteka Polish Film Festival returns to London’s festival scene from 4 – 18 April 2019, bringing with it an exhilarating range of new Polish film and culture as well as highlighting lesser known gems ripe for rediscovery. As well as offering unique insights into Poland’s rich history and culture, the festival represents diverse and universal new works from exciting new filmmakers as well as those which have made a valued contribution and impact to the world filmmaking landscape. Hosted by some of London’s most prestigious and forward-thinking cultural institutions, this year also includes masterclasses, artist film screenings, workshops and musical entertainment. The festival’s highlights include an immersive musical and dining experience for Cold War which closes the Festival; a focus on new female filmmakers; veteran auteur Krzysztof Zanussi presenting his new film Ether; and a night dedicated to ‘90s Polish rave culture. The festival has worked hand-in-hand with the following prestigious venues to deliver audiences this year’s eclectic and unique programme: Baltic Restaurant, Barbican, BFI Southbank, Close Up Cinema, Frontline Club, ICA, Tate Modern, The Horse Hospital, Regent Street Cinema and Watermans Art Centre.

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