FRED Film Radio - English Channel

PODCAST| Sarah Bradbury interviews Stephan James, actor of the film If Beale Street Could Talk.

We sat down with American actor Stephan James to discuss the themes of love, racial injustice and black masculinity in Barry Jenkins’ screen adaptation of James Baldwin novel If Beale Street Could Talk ahead of its UK release.

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.

To discover more about the film, click here.

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PODCAST| Nicolò Comotti interviews film translator Andrea Kirchhartz.

Andrea Kirchhartz is an expert of Film translation in all its facets: subtitling, book translation, Live Voice-Over and plenty more. On the occasion of the conference and the presentation of the book The Translation of Films, 1900-1950 – edited by Jean François Cornu and Carol O’Sullivan – Andrea reveals a few tricks she has learnt over the years. Although, perhaps, the real secret is only one: an unconditional love towards Cinema and all its forms.

Andrea Kirchhartz studied Theatre, Film and Television Studies in Cologne and Paris and has worked as a freelance film translator for subtitling, voice-overs and dubbing since 1999. She translates screenplays and texts in the field of Film Studies and is an interpreter at festivals. She is a member of the subtitlers’ association Untertitelforum – AVÜ.

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PODCAST| Nicolò Comotti interviews translator Ian Burley.

Ian Burley thinks back on how everything began: from a job opportunity that seemed just another shot in the dark, to becoming one of the most prominent French to English film translators.

After a post-graduate course in subtitling, Ian Burley began work as a subtitler and script translator for the French, Belgian and Italian film industries and has collaborated regularly with such renowned directors as Alain Resnais, the Dardenne brothers, Robert Guédiguian, Nicolas Philibert, Bertrand Bonello and Bruno Dumont. He holds degrees from the University of Swansea, Université de Bretagne Occidentale and Université de Lille III.

To know more about Ian, click here.

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PODCAST| Nicolò Comotti interviews translator and reasearcher Jean-François Cornu and Carol O’ Sullivan.

Jean-François Cornu and Carol O’Sullivan introduced their book The Translation of Films, 1900 – 1950 within the setting of the Deutsche Kinemathek in Berlin. The panel that followed turned out to be an invaluably insightful discussion on the state of Film Translation today, while keeping an eye on its fascinating past.

The Translation of Films, 1900 – 1950: Since the early days of cinema, film translations have had a great influence on people’s perception of movies, but it is an area that few researchers have explored. The Translation of Films, 1900–1950 is the first book-length publication on the history of audio-visual translation. Editors Carol O’Sullivan and Jean-François Cornu introduce this collection of essays offering various perspectives on the translation of films into other languages in the silent movie era and the first few decades of sound films. Following that, director Elfi Mikesch, film restorer Julia Wallmüller, and translator Rebekah Smith will discuss the subtitles created for the 2018 digitally restored version of Mikesch’s Ich denke oft an Hawaii (I Often Think of Hawaii, 1978). A comparison of the new subtitles and the ones from the film’s release year demonstrates how standards and available methods have changed over the years, and illuminates the special challenges in translating an historical film work.

The post Jean-François Cornu, Carol O’ Sullivan – The Translation of Films, 1900 – 1950 #Berlinale2019 appeared first on Fred Film Radio.

PODCAST| Angelo Acerbi interviews Simone Gandolfo, President of the Vallée d’Aoste Film Commission.

Simone Gandolfo proudly talks with FRED about the activities and the successes of the Vallée d’Aoste Film Commission, based in the smallest region of Italy but very active and productive, especially in these last years.

This interview was recorded during the 2019 European Film Market, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

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PODCAST| Angelo Acerbi interviews Emma Barboni, member of the Emilia Romagna Film Commission.

Emma Barboni from the Emilia Romagna Film Commission introduces to FRED the activities and features of her film commission, including all economic helps that are given through the calls of its film funds.

This interview was recorded during the 2019 European Film Market, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency. To discover more about the Emilia Romagna Film Commission, click here.

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PODCAST| Chiara Nicoletti interviews Selma Vihunen, director of the film Stupid Young Heart.

Stupid Young Heart comes from the screenwriter Kirsikka Saari’s idea, tells director Selma Vilhunen who’s at the 69th Berlinale to present it in the Generation 14 plus section. The director, who already won Alice nella Città in Rome with Little Wing, reveals how Saari had always wanted to write a film about teenage pregnancy in Finland and then they both managed to mix this topic with another essential theme to be talking about nowadays: the strong need for adolescents, for teenagers to belong in a group, whether it is a political one or religious. The two young parents to be are apparently different from one another but they both can be fiery and in the end capable of becoming parents.

Stupid Young Heart is about the first love between the skinny and carefree Lenni and the gorgeous and popular Kiira. Not yet in a relationship, nor out of highschool, they discover that they are expecting a baby. Lenni has nine months to become a man. Having grown up without a father figure, Lenni finds longed-for adult attention and guidance from an unlikely friend Janne, a member of a right wing group that has recently moved into Lenni’s diverse neighbourhood. After taking part in a scrambled attack on a local Mosque, while Kiira is rushed to the hospital to give birth, Lenni realises that he must learn to be a man in his own way, even though he never had a chance to be a child himself.

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PODCAST| Chiara Nicoletti interviews Denis Coté, director of the film Ghost Town Anthology.

Denis Coté’s new film, Ghost Town Anthology, is again unpredictable yet effective in accomplishing two tasks at the same time: creating a suggestive film where a mix of genres will allow the audience to give their own meaning to the film; portraying Canadians’ fear of losing their sense of comfort when the rise of populism in the media is scaring every person’s conscience. In competition at the 69th Berlinale, Ghost Town Anthology is again the proof of Cotè’s ability of surprising his audience over and over again.

Ghost Town Anthology: In Ireeneee-les-Neiges, a small, isolated town with a population of 215, Simon Dube dies in a car accident. The stunned townspeople are reluctant to discuss the circumstances of the tragedy. From that point on, for the Dubee family as well as for Mayor Smallwood and a handful of others, time seems to lose all meaning, and the days stretch on without end. Something descends slowly upon the area. In this period of mourning and in this fog, strangers start to appear. Who are they? What is happening?

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PODCAST| Sarah Bradbury interviews Damon Gameau, director of the film 2040.

Australian documentary-maker Damon Gameau tells us about the making of his delightfully creative and eye-opening film, 2040 envisioning how our world may look in 20 years time and the opportunities we have to fight climate change with the tools and technology already available. He explains how he was inspired to take a more playful light-hearted approach to his documentary as an antidote to the doom and gloom, dystopian narratives about the future, the concept of fact-based dreaming and use of an animation and special effects team and how he hopes his film will prompt viewers to think differently about climate change, as was the case with sugar after his 2015 documentary, That Sugar Film.

2040: “We have everything we need right now to make it possible.” After his impressive self-experiment in That Sugar Film (Generation2015), Damon Gameau goes on a journey again in this entertaining and profound documentary. Looking at his little daughter, he wonders how our life could look in 20 years. Throughout our world, the bustling filmmaker finds amazing approaches and solutions in the fight against global suicide through global warming. Many discussions and examples from the fields of energy, transport and agriculture show the opportunities for responsible action. With playful animations Gameau underpins his credo: We can successfully limit the harmful CO2 emissions and create a more liveable world. It’s up to us.

To discover more about the film, click here.

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PODCAST| Angelo Acerbi interviews Marius Olteanu, director of the film Monsters.

Marius Olteanu tells us in Monsters about the difficulties of loving and of fulfilling one’s desires in a society that forces and wants you to conform and be the same. She loves him but she does not want a kid, and for this she is judged. He loves her but he is in love with a man too, and this is something that seems it cannot be changed, and not accepted by the society. Marius chooses to tell the story showing the same night seen through the two characters separately, and closing the film with them together. A perfect choice both aesthetic and narrative.

Monsters: Arthur and Dana are married, they seem the perfect pari, from the outside. Over the course of a single day, the film shows first Dana, then Arthur then the two together: marriage, love, friendship, repressed sexuality and society pressure all entertwine in an agonising but inevitable interaction.

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