FRED Film Radio - English Channel

Frank Keraudren and Allison Berg – Directors and producers – The Dog

Festival section: PanoramaThe Dog is truly a labour of love with Wojtowicz as its fascinating anti-hero, captured here in all his humaneness: ‘the dog’ (as he likes to call himself) is lovable, manic, heroic, hopelessly sentimental, self-destructive, sex-obsessed, violent, manipulative, obsessive and unpredictable. His drastic, earthy humour also makes him a fantastic storyteller.

Reporter: Matt Micucci

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Jason Isaacs – Actor – Things People Do

Festival section: Panorama

Fred chats with actor Jason Isaacs about his experience on the set of THINGS PEOPLE DO by first time director but renowned editor Saar Klein. In the film presented in the Panorama section of the 64th Berlin International Film Festival, Isaacs plays Frank, a cynical cop who strangely befriends Bill (Wes Bentley). To cite the director’s words: Bill is the guy that believes in the law but breaks the law while Frank is the guy who doesn’t believe in the law although he is a law officer. This friendship will inevitably change their lives forever.

Reporter: Chiara Nicoletti

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Jakob Oftebro, Actor, In Order of Disappearance (Kraftidioten).

Festival Section: Competition / European Shooting Stars 2014.

Actor Jakob Oftebro talks about his performance in Hans Petter Moland’s film IN ORDER OF DISAPPEARANCE (Kraftidioten) and being one of this year’s Shooting Stars at the 64th Berlin International Film Festival.

Jury’s comment: Jakob is an exceptionally charismatic young actor. He is delightful as the romantic male lead in Knut Hamsun adaptation VICTORIA, while demonstrating admirable breadth in the other work we viewed. We are confident that Jakob has an exceptional career ahead of him.

Jakob Oftebro is one of Scandinavia’s most talented actors. His television work includes the BAFTA nominated Danish/Swedish TV series, THE BRIDGE, as well as a featured role in the highly anticipated 1864 by Ole Bornedal. His film career includes roles in MAX MANUS – MAN OF WAR, and the Oscar and Golden Globe nominated Kon-Tiki, as well as leading roles in VICTORIA and THE HIDDEN CHILD. In 2014, Jakob can be seen in Christian E. Christiansen’s drama, ON THE EDGE (LEV STAERKT) and in IN ORDER OF DISAPPEARANCE (KRAFIDIOTEN) byHans Petter Moland.

Reporter: Matt Micucci.

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Hans Petter Moland, Director, In Order of Disappearance (Kraftidioten).

Festival Section: Competition.

Norwegian director Hans Petter Moland talks to FRED Film Radio about his film IN ORDER OF DISAPPEARANCE (Kraftidioten), which was presented in the competition of the 64th Berlin International Film Festival.

Norway, winter. Introverted and hard-working Nils drives the powerful snow plough that keeps open the roads and mountain passes of the inhospitable frozen landscape where he lives. He’s just been named citizen of the year for his efforts when he receives news that his son has died of a heroin overdose. Refusing to believe the official version of his son’s death, he begins a covert search for the boy’s alleged murderers. A surprising turn of events causes him to become a tough-as-nails and feared underworld hero – one whose identity nobody knows. A gruesome black comedy full of impressive images of an endless wintry-white landscape which Nils knows how to use to his advantage. The film deploys dark comedy to depict Nils’ exploits in the realm of gangsters, which is characterised by a delicately nuanced portrayal of the mentalities of Swedish, Norwegian and Serb mafiosi with Bruno Ganz putting in an appearance as a Serb mafia boss.

In Order of Disappearence reunites the creative team of director Hans Petter Moland, screenwriter Kim Pupz Aakeson and actor Stellan Skarsgård.

Reporter: Matt Micucci.

MATT’S COMMENT:

In Order of Disappearance is a one of a kind revenge flick that seems to unravel out of melodramatic predicaments as a father learns that his son died of a heroin overdose. This leads to a seemingly irreparable split with his wife and a suicide attempt that is suddenly interrupted by a man who pops up out of nowhere and reveals to him that his son was, indeed, killed by a group of Norwegian gangsters. Thus, begins his determined revenge as he kills each member of the gang of murderers one by one.

Yet, this is not a Steven Segal flick, and Moland exploits the realm of the conventional structure of the revenge flick to strip it of the initially implied melodrama and coat it in comedy and even absurdity, without disregarding a pinch of action and violence. In other words, In Order of Disappearance is a riotous crime film on the verge of slapstick comedy. The man out for revenge is none other than Nils, an everyman and immigrant whose only wish was to fit into society and lead a normal life. Thus, seeing this seemingly normal man take on organised crime practically by himself is hilarious in itself. On top of that, the baddies in this film hardly make up the conventions of the villains. Though they have a penchant for thoughtless violence, their madness is so exaggerated that it seems farcical.

As the film progresses, certain clever and unpredictable twist keep playing around with the format and satirises on the differences of mentality between men of different cultural background, particularly the Swedish, the Norwegians and the Serbs, as a gang for Serbia gets upset after their leader’s grandson is killed too. This portrayal of cultural difference is highlighted by the fact that every time someone dies, a title card follows with the name of the deceased and his religious sign, providing a surreal solemn moment that is just one of the many little creative touches that contribute to making Moland’s film seem imaginative.

Yet, it’s also hard to ignore a certain depth and pondering upon the theme of immigration and an original take on the aforementioned subject of cultural differences. To complete the picture, an impressive cast of big names is assembled with Stellan Skarsgård, Bruno Ganz and Pål Sverre Hagen topping the bill.

Read more: http://www.cinecola.com/reports/a64th-berlin-international-film-festival/competition-screening-review-in-order-of-disappearance-kraftidioten-by-hans-petter-moland/

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Josephine Decker, Director, Butter on the Latch, Thou Wast Mild and Lovely.

Festival Section: Forum.

FRED caught up with filmmaker Josephine Decker to talk about the two films she presented in the Forum section of the 64th Berlin International Film Festival, BUTTER ON THE LATCH and THOU WAST MILD AND LOVELY.

BUTTER ON THE LATCH – Josephine Decker’s sinister folktale is set in the dark Californian forest of Mendocino, where a Balkan folk festival is taking place. Sarah surprises her friend Isolde by visiting her at the camp, and the two of them enjoy learning about the mythical stories from those faraway lands, practising traditional song and dance and chit-chatting on their torch-lit journeys back to the tiny cottage where they sleep. Sarah encounters a handsome guy during one of their carefree moments and decides to seduce him – slowly and over the course of several days. Obscure feelings begin to disrupt her behaviour while she makes her advances, and she almost forgets about Isolde as she is dragged deeper and deeper into the mythical world being played out in front of her by the other festival guests. Ashley Connor’s refreshing cinematography and Decker’s own freestyle editing – at times experimental, at times tranquil and contemplative – articulate the eerie unde

THOU WAST MILD AND LOVELY – A farm in rural Kentucky. Father Jeremiah and daughter Sarah squabble together like young puppies. Over crisp, verdant images of nature, of animals, streams and puddles, a mysterious, sensual female voice tells of her lover, who may be a person or may be the whole world. Enter Akin, there to help out for the summer. He’s left his wife and child at home – and taken off his wedding ring as a precaution. Soon the three of them are circling each other, watching, feeling watched and knowing that their watching is not going unwatched. Within this atmosphere, a charged romance develops between Sarah and Akin that carries both an erotic tension and vague feeling of menace. When Akin’s wife Drew comes for a visit, the situation explodes, harmless fantasies giving way to a violent nightmare.

Reporter: Matt Micucci.

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Veiko Ounpuu, Director, Free Range.

Festival Section: Forum.

Veiko Ounpuu chats with FRED’s Chiara Nicoletti about FREE RANGE, his new film and Estonian Entry at the Academy Awards 2014 ” FREE RANGE. The film is screening at the 64th Berlinale in the FORUM section of the Festival. More than a film ,FREE RANGE is similar to a poem, it narrates the story of Fred, an aspiring writer and artist, who, after geting fired from a magazine and finding out that his girlfriend is pregnant, tries to change direction to his life and becomes a forklift operator. In this attempt of getting out of a system that condemns art to fit certain standards, he inevitably falls into another structure. Fred’s adventures are accompanied by a 70′s hippie rock and portrayed through a 16mm camera. Free Range is poetry in cinema as it makes you feel like you’re living in a poem.

Reporter: Chiara Nicoletti.

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Sophie Hyde, Director, 52 Tuesdays.

Festival Section: Generation 14plus.

Sundance directing-award winner SOPHIE HYDE talks to FRED about the making of 52 Tuesdays, the struggle with structure and how it all came together in the end.

52 Tuesdays is a strikingly beautiful film about sixteen-year-old Billie whose mother has decided to undergo gender reassignment surgery. James – as her mother now prefers to be known – has always wanted to be a man. The challenging journey will take one year. When Billie learns that she is to live with her father Tom in the meantime, she feels her own wishes have been ignored. James’ promise to spend every Tuesday afternoon with her is scant comfort. Nonetheless, James tries to observe his motherly responsibilities, while he goes through this change. There’s plenty going on in Billie’s own life, too. Enthralled by a clandestine amorous encounter between two pupils, she joins in. As a trio they continue to explore the parameters of their desires until their search for self-determination brings them into conflict with the adult world. When James tries to protect Billie, their already fragile relationship threatens to collapse. Sophie Hyde, known for her documentary films, makes use of a documentary style in her first drama. In order to achieve as much authenticity as possible, filming took place chronologically over a period of one year – but only on Tuesdays – with the story being developed alongside.

Reporter: Dana Knight.

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David O. Russell, Director, American Hustle.

Festival Section: Special Gala.

Oscar nominated David O. Russell directs American Hustle.

Reporter: Mariane Morisawa.

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Bradley Cooper, Actor, American Hustle.

Festival Section: Special Gala.

Oscar nominated actor Bradley Cooper plays FBI agent Richie DiMaso in American Hustle, directed by David O. Russell.

Reporter: Mariane Morisawa.

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Saar Klein – Director – Things People Do

Festival section: Panorama

Two-time academy award nominee (The Thin Red Line and Almost Famous) , editor Saar Klein talks about his first experience as a director for THINGS PEOPLE DO starring Wes Bentley and Jason Isaacs.

Bill is the family man with a sort of an old-fashioned moral code. After being fired for being too accomodating in his job as insurance adjuster, due to a series of bad circumstances, he turns into a life of crime and robbery while maintaining his own moral code. During this change of direction he becomes friend with a policeman, Frank (Jason Isaacs) who is Bill’s opposite. His cynical way of looking at life and people pushed him away from his wife and kid.The director’s idea is that Bill is the guy that believes in the law but breaks the law while Frank is the guy who doesn’t believe in the law although he’s a law officer. The audience will leave the movie theatre with an inevitable and struggling internal debate: Is there a universal concept of justice? as sometimes the most difficult thing in life is decide between the RIGHT thing to do and the BEST thing to do for ourselves and our family. In the director’s words, Things People Do is a morality play set in the modern world.

Reporter: Chiara Nicoletti

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