FRED Film Radio - English Channel

PODCAST| Matt Micucci interviews Daniel McCabe, director of the film This Is Congo.

An interview with Daniel McCabe, director of This Is Congo, which, having premiered at last years Venice Film Festival, was featured in the program of the 2018 One World International Human Rights Documentary Film Festival. The documentary not only looks at the everyday violence and conflict in Congo but also provides us with some background and historical info on a situation that, as McCabe tells us in this interview, “often stays out of the news airwaves.” Besides giving us an overview of the confusing situation in Congo and the three protagonists of his film, McCabe talks about his own journey as an outsider coming into the country to make the film.

This Is Congo: With fairy-tale beauty and endless violence, Congo is full of contrasts, all of which continue to have a strong impact on the country’s history. Using the story of four different protagonists, the film shows the harsh present, which is still haunted by the bloody past. When photojournalist Daniel McCabe first visited the Democratic Republic of Congo in 2008 to document the war in the eastern part of the country, he witnessed incomprehensible brutality set against the beautiful backdrop of pristine nature. According to his description, Congo is “Narnia on acid “. McCabe decided to tell the completely unfiltered, unabridged story of this country, not focusing on only a few areas. He describes the world’s longest-running conflict through the eyes of four protagonists: a whistle-blower with a unique insight into politics; a commander of the Congolese army, who, with his unit, defended the city of Goma against the rebel invasion of 2012; a woman who trades in blood minerals; and a shoemaker in a refugee camp.

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PODCAST| Matt Micucci interviews Rikun Zhu, director of the film Anni.

An interview with Chinese filmmaker Rikun Zhu, whose documentary Anni premiered at the 2018 One World International Human Rights Documentary Film Festival. The film documents the struggle in the fight for human rights and democracy in China through the story of a little girl, Anni, who was forced to leave school due to her father being labeled a dissident by the Chinese government. The director tells us about the current situation in China, and whether the struggle has worsened since he made the documentary a couple of years ago. He also talks about the difficulties in making films such as these, whether he is able to screen them in his home country, and what the benefits of showing his works to audiences in other parts of the world are.

Anni: Every child has the right to education in China. But ten-year-old Anni is not allowed to go to school. Why? Her father is a dissident. Anni and her father moved to be closer to her older sister. The little girl was not in her new school long enough to get settled – the secret police took her away after three days. Her father was, as so many times before, being interrogated. The school preferred to not have anything to do with such a family, so they have refused to continue educating her. Independent Chinese director Zhu Rikun, camera in hand, follows the movement of activists who have joined forces through the Weibo social network to support Anni. Will peaceful protests in front of the school and a petition be enough to pressure the school to take her back?

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PODCAST| Nicolò Comotti interviews Anthony Chidiac, director of the film Room for a Man.

Anthony Chidiac has some time to talk to us about his first feature, a psychological study on the self, Room for a Man. After winning the Grand Prize at Montreal RIDM 2017, we have the chance to see Room for a Man for the first time in Europe, in the beautiful setting of TDF20.

Room for a Man: A young Lebanese filmmaker who shares an apartment in Beirut with his mother and pet dog sets about reconstructing his identity by renovating his bedroom. However, a visit from Syrian workers, a family album, and a Skype call stir the still waters of an abused life, marked by a desire to flee but with nowhere to go. An intimate confessional essay that presents cinema as a tool of survival, resistance and openness.

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PODCAST| Matt Micucci interviews Guido Hendrikx, director of the film Stranger in Paradise.

An interview with Guido Hendrikx, director of Stranger in Paradise, which was featured in the program of the 20th One World International Human Rights Documentary Film Festival. The director talks about the film, which is about migration, but more specifically, as he tells us, “more about Europe and the way in which we in Europe tend to relate to migrants.” In Stranger in Paradise, an actor, Valentijn Dhaenens, hosts a type of classes in which, in the first two parts addresses migrants from different parts of the world first in a right-wing populist manner and then in a left-wing one. Both arguments are unsatisfactory, he agrees, but there are things that can be agreed upon in both as well. We ask him about him he first approached Dhaanens and explained to him what it is that he wanted to do and to what extent the migrants were aware of what was happening as far as the film was concerned. We also ask him about his own interest in the topic, and he tells us about his own journalistic background, as well as the difference between making a film and covering migration for the news, and more.

Stranger in Paradise: “What do you actually want from Europe? Do you think of us as a sort of Garden of Eden, whose fruit you can harvest as you wish?” Exhausted immigrants, who have just survived the sea to arrive on European shores, continue to hear such questions. The documentary’s protagonist Valentijn Dhaenens, a Belgian actor, assuming the role of a mentor, confronts immigrants at his lectures with some of the typical European attitudes towards their arrival. Should we caution them about potential problems? Or support their dreams for a better life? Who will get a chance to stay in Europe? How do we decide? One thing is certain: far more complicated mechanisms than the mere determination and will of foreigners lie behind entering “paradise”. Under which scenario will one of the greatest stories of our time – the story of migration, hope and disillusionment in which everyone is forced to play a role – develop?

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PODCAST| Matt Micucci interviews Kate Brooks, director of the film The Last Animals.

An interview with Kate Brooks, director of The Last Animals, screened at the 20th One World International Human Rights Documentary Film Festival in Prague, Czech Republic. In this interview, she talks to us about how she turned her interest to environmental issues and, in particular with this film, to capturing the systematic slaughter of animals after her work as a war photojournalist. she also talks about why she felt that poaching was a story that needed to be told in a film rather than still photography. The film is also a tribute to the people, from nature conservationists to scientists and rangers who dedicate their lives to protect the lives of animals facing extinction. Brooks also tells us how the film has been encouraging debate around this topic at the several festivals where it was screened so far, and what people can do to get involved. One of the ways in which one can directly get involved is by purchasing songs originally composed for the film by Emmanuel Jal, the proceeds of which will be used to establish scholarships for children of fallen rangers at https://itunes.apple.com/us/album/the-last-animals-single/1354834534.

The Last Animals: War photojournalist Kate Brooks turned her interest from uncovering crimes committed against human beings to capturing the systematic slaughter of animals. She even visited Dvur Karlove in the Czech Republic. Poachers every year kill thousands of African elephants and rhinoceroses. Their ivory and horns are in high demand, especially on Asian markets. The illegal trade has brought some species to the brink of extinction. This documentary uncovers an international network that carries ivory from poachers and smugglers, with the support of terrorist organizations, to the target markets, in spite of international agreements and bans. It also shows the sustained efforts of nature conservationists, nature reserve administrators and scientists who, despite declining odds, are fighting for the lives of animals facing extinction. The result is an emotional wakeup call for the international community to focus its attention on the fate of these creatures.

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PODCAST| Matt Micucci interviews Matthias Heeder, co-director of the film Pre-Crime.

An interview with Matthias Heeder, co-director alongside Monika Hielscher of the documentary feature Pre-Crime, which was screened at the 20th One World International Human Rights Documentary Film Festival in Prague, Czech Republic. The film talks about the technological advancement in policing and big data, and how the two merged into a new frightening concept of predictive policing that aims to predict a crime before it is committed. It is surprising to think that this science-fiction storyline is actually a reality of today’s world. In fact, Heeder tells us that some members of the audience think that the whole film is staged, but that alas it is “a documentary film about what is going on these days.” The film is humanized by the inclusion and contribution of Robert and smurf, two men who were placed on a list of possible people who may commit crimes. Heeder talks about the impact they had on the film, but also how the film developed and the international scale and extent of this type of predictive policing that is somewhat gone unnoticed by the media at large.

Pre-Crime: An Orwellian documentary that uncovers the world of modern police technology to predict crime before it happens. We are almost constantly being watched by cameras in the city streets. Our computers collect and, without our knowledge, provide us with all personal data using an algorithm: what we like, who we meet and what we did last month. Police in several world capitals have already systematically linked this information together in an attempt to reduce crime in problematic parts of cities. All the collected details from the lives of monitored citizens determine whether the police will preventively evaluate them as likely criminals or potential victims of a crime. But are 21st-century technologies really protecting us against evil or, on the contrary, helping to deepen prejudice and social tensions?

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PODCAST| Matt Micucci interviews Anna Kaslová, manager of East Doc Market.

An interview with Anna Kaslová, manager of the East Doc Market and Czech Docs at East Doc Platform. Kaslová gives us an overview of the market, which offers the opportunity for filmmakers to meet with international funders, broadcasters, distributors, sales agents, and festival representatives, and of the Czech Docs section, the Platform’s event dedicated only to Czech documentaries, along with her thoughts and feelings on this year’s edition of East Doc Platform.

The East Doc Platform (EDP) is the largest co-production, funding and distribution platform tailor-made for Central and East European documentaries. Every year, connecting 120 East European filmmakers to more than 100 key decision makers – producers, broadcasters, distributors and festival programmers from around the world.

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PODCAST| Matt Micucci interviews Rebecca De Pas, manager of Ex Oriente Film.

An interview with Rebecca De Pas, manager of the Ex Oriente Film program, a training program for documentary filmmakers of the East European region, and the East European Forum pitching at the East Doc Platform. De Pas gives us an overview of the activities of Ex Oriente Film and the criteria for participants, as well as an overview of this year’s edition of East Doc Platform, and more.

The East Doc Platform (EDP) is the largest co-production, funding and distribution platform tailor-made for Central and East European documentaries. Every year, connecting 120 East European filmmakers to more than 100 key decision makers – producers, broadcasters, distributors and festival programmers from around the world.

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PODCAST| Matt Micucci interviews Hissa Hilal, protagonist of the film The Poetess.

An interview with Saudi poet Hissa Hilal, the protagonist of the documentary The Poetess, directed by Stefanie Brockhaus and Andy Wolff, which screened at the 2018 One World International Human Rights Documentary Film Festival. In this interview, we talk about her documentary, how she was approached by the directors, her initial reservations in shooting a film about her life, and the relationship that she established with the directors, especially Brockhaus, during the filming. But we also take this opportunity to talk about the importance of poetry in Saudi Arabia; clearly, as implied by the fact that, as explored in the film, poetry is the subject of the country’s most popular TV show, slightly reminiscent of its X-Factor western equivalent, poetry is very important. But what about women in poetry? Hissa Hilal tells us that she, herself, was quite established before becoming a participant on this show, but that before then she used a pseudonym and nobody knew her true identity. We also talk about some pressing themes of the Arab world and Arab culture, such as the segregation of the sexes, and the meaning of the term “fatwah,” which was the topic of one of her courageous poems from the show.

The Poetess: A woman’s mere public appearance is a violation of morality in conservative Saudi Arabia. Saudi poetess Hissa Hilal did the unimaginable – she starred in a television show. Million’s Poet is no ordinary talent contest. The superstars sought among contestants from Muslim countries do not have to sing or dance, but to recite their own poetry. The professional and lay jury decided that Hissa would become the first woman to take part in the contest, and her bold poems soon made her a star of Western and Arab media. Her open criticism of conservative norms and religious gender taboos earned her enthusiastic applause, but also death threats. The film presents the story of a woman who is able to combine her deep religious beliefs with profound criticism of theocratic dogma.

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PODCAST| Matt Micucci interviews Marc Pierschel, director of the film The End of Meat.

An interview with Marc Pierschel, director of The End of Meat, a documentary presented at the 20th One World International Human Rights Documentary Film Festival in Prague, Czech Republic. The documentary, simply put, looks at what would happen if we all stopped eating meat. Despite the sensitive issue, Pierschel tells us that he did not want to be too pushy and just present people with the facts. One of the things that The End of Meat shows is that there has been a rise in vegan products and veganism in general. The rise in accessibility to vegan products has also coined a new term, “flexiterians,” and, for instance, led some butchers to make vegan products themselves. But the film examines the issue on a global scale, and in this interview, we talk about some of the specific things addressed, such as the current situation of meat products in India, and people beginning to take in non-traditionally domestic animals into their homes, proved by the popularity of Esther the Wonder Pig. Pierschel himself has been a vegan for many years and recognizes meat consumption as a critical issue, therefore, his hope is that this film will get people talking.

The End of Meat: What would the world look like if everyone gave up on meat? Can such a scenario even be conceived? What about the animals themselves? German director Marc Pierschel crosses continents to chart the mutual influence of the animal industry and the shape of our society. The starting point of his exploration is Germany, where the wind of change has so far been strongest. Large chain stores have pure vegan sections, and more and more vegan restaurants are emerging throughout the country. But are people really capable of consistently replacing meat with meatless products? What are the stories of those who have chosen to make this change? The documentary seeks answers among the scientists who create meat products without meat, philosophers who ask ethical questions about the cohabitation of humans with animals, and the animals themselves, liberated from large-scale farming and slaughterhouses.

To know more about the documentary, click here.

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