FRED Film Radio - English Channel

At the 77th Festival de Cannes, Magnus von Horn presented his latest film, “The Girl with the Needle”, a haunting tale set in Copenhagen after World War I. In this interview, Magnus von Horn delves into the inspirations, challenges, and thematic explorations that shape this dark and thought-provoking narrative.

Magnus von Horn shares the personal and emotional journey that informed “The Girl with the Needle.” Reflecting on his own experiences, he reveals how these profound moments of introspection influenced the film’s thematic core. “It’s about moral dilemmas, regret, and the complex decisions we face,” he says.

Discussing the film’s visual style, Magnus von Horn explains the decision to shoot in black and white to transport audiences into a timeless, almost fairytale-like realm. Drawing inspiration from period photography and cinematic classics, von Horn and his team crafted a visually stunning landscape that blurs the lines between reality and fantasy.

Von Horn admires actress Trine Dyrholm, who portrays the enigmatic Dagmar in “The Girl with the Needle.” Recounting their initial meeting and Dyrholm’s transformative approach to the character, von Horn praises her fearlessness and depth as an actor.

Magnus Von Horn explains the deliberate pacing and narrative structure of “The Girl with the Needle,” emphasizing the importance of building tension and suspense. He describes how the film’s gradual unfolding of events creates a sense of unease and anticipation, inviting audiences to question their perceptions and expectations.

Magnus von Horn hopes that “The Girl with the Needle” will spark meaningful audience discussions. “It’s about the choices we make, the consequences of our actions, and the blurred lines between right and wrong,” he states. Von Horn encourages viewers to confront their moral compasses and grapple with the complexities of human nature depicted in the film.

“The Girl with the Needle” is a powerful exploration of morality, love, and sacrifice in a world of uncertainty and ambiguity. Magnus von Horn‘s bold storytelling illuminates the darker corners of the human psyche, inviting audiences on a haunting journey of self-discovery and introspection.

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Presented in Cannes Premiere at the 77th edition, “Everybody Loves Touda” is the new film by Moroccan director Nabil Ayouch.

Written by Ayouch together with his life partner, director  Maryam Touzani, “Everybody Loves Touda“, through the protagonist’s character, Touda ( Nisrin Erradi) pays homage to the Sheikhats, strong independent singers belonging to the Moroccan tradition since the 19th century. 

With Erradi, the director remarks on the importance of bringing to the big screen stories like these as they’re the best way to show the world that such figures of independence, fight and strength exist in the Arabic world. 

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At the Quinzaine des Cinéastes, Karan Kandhari talked with FRED Film Radio about his directorial debut, “Sister Midnight”.

Karan Kandhari reveals the genesis of “Sister Midnight,” citing his fascination with Mumbai’s eclectic and intoxicating personality as the initial spark for the story. “The city’s mishmash of cultures and histories clashing yet harmonizing inspired me,” he explains. The character of Uma emerged from his observations of this vibrant urban tapestry, evolving into a fierce and unconventional protagonist.

When asked if “Sister Midnight” could be considered a coming-of-age film, Kandhari affirms, “Absolutely. It’s about Uma’s transformation and self-discovery in the chaotic environment of her new life.” The film follows Uma’s journey from a timid bride to a bold, unapologetic woman, making it a quintessential coming-of-age narrative with a darkly comedic twist.

Discussing his collaboration with Radhika Apte, Karan Kandhari lights up, “Radhika was always the perfect choice for Uma. Her fearless approach and ability to embody complex emotions made her an ideal fit.” He praises Apte’s dedication and creativity, noting that their work together was akin to “having the best imaginary friend come to life.”

Karan Kandhari emphasizes the significance of music in “Sister Midnight,” describing it as an eclectic mix that mirrors the film’s diverse influences. “From Motorhead to vintage Cambodian soundtracks, the music adds a playful and unpredictable layer,” he says. Kandhari’s passion for music is evident as he explains how it shapes the film’s rhythm and enhances its narrative.

On the use of stop-motion animation for animals, Karan Kandhari shares, “I wanted a lo-fi, surreal quality that stop-motion brings. It adds a fantastical element that complements the film’s punk aesthetic.” This choice underscores the film’s blend of dark comedy and whimsical fantasy.

Mumbai’s setting is crucial to the film’s atmosphere and story. Karan Kandhari explains, “Mumbai’s vibrant, chaotic energy is almost a character. It amplifies Uma’s journey and the film’s overall mood.” He recounts how the city’s dynamic environment provided the perfect backdrop for the narrative’s unfolding drama and humour.

A significant symbol in the film is the criss-cross bandage on Uma’s nose, which Kandhari explains: “The bandage represents Uma’s transformation and resilience. It makes her look badass and signifies her evolution from vulnerability to empowerment.” This visual cue helps to track her journey throughout the film, reflecting her inner strength and rebellious spirit.

“Sister Midnight” is a bold, darkly humorous addition to contemporary cinema. Karan Kandhari‘s debut film, anchored by Radhika Apte‘s phenomenal performance, explores themes of identity, resilience, and rebellion set against the vibrant backdrop of Mumbai.

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The one and only actress Isabelle Huppert tells us more about her character and her work in Patricia Mazuy’s “Visiting Hours” (“La Prisonnière de Bordeaux“, singular…), selected in Cannes as part of the 56th Directors’ Fortnight.

“What made me willing to do the film in the first place was the prospect of working again with Patricia Mazuy, with whom I did, some time ago [in 2000], Saint-Cyr, which was in Cannes, in the Un Certain Regard sidebar, and which I think was a really great film. Over the past years, I have liked her films a lot, especially her last one before this one, Bowling Saturn, which I think is a small masterpiece. There is something very sharp and very harsh in her vision of the world which makes her stories very interesting, whether they are more dramatic, or more comedic, or whatever, but there is also something a bit… let’s say very much political, in the wider sense of the word of course.”

“In the end, it is a tragicomedy, but throughout the film, it is, very often a comedy, which I did not expect actually. I did not expect people to laugh as much as they did at the screening, last night, but there is also something very dark in the ending, which owes to the irreconcilable aspect of this relationship, because they represent two different worlds.”

About the very first sequence : “There is something abstract that runs throughout the film, in the narrative… well abstract maybe the word is a bit strong, but you do go from one scene to the other without an explanation between the two scenes. And there is something in the writing which is very modern, very cinematic, from the very beginning…“

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Musician, film critic, cinematographer and producer, with “Eephus“, screening at the Directors’ Fortnight 2024, Carson Lund marks his directorial debut.

As a baseball player himself, Carson Lund realizes an ode to baseball in an hangout film that, to quote the director, “is about the possibilities opened up by the game: of escape, of camaraderie, and of a deeper, more serene sense of time passing than what’s capable in the grind of a work week”

Inspired by Robert Altman and Howard Hawks focusing on ensemble centered narratives and  American multi-character hangout films like Richard Linklater’s “Slacker and Dazed & Confused”, Carson Lund relies on a cast that practically lived the film.

With Lund at the premiere of the film in Cannes, actor Keith William Richards playing Ed Mortanian in the film, confirms the unique and melancholic atmosphere generated by the film.

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After “Firebrand“, a period film about British royalty, Brazilian director Karim Aïnouz went back shooting in his country “Motel Destino“, presented in competition at the 77th Festival de Cannes.

Karim Aïnouz returns to his home province, Cearà, for a story of lust, sex, passion and colors between three people. All set in a Motel , which is home for desire and fantasies, Motel Destino is Aïnouz’s way to react to the “years of horror Brazil lived in”.

To quote the director: “Motel Destino is a portrait of characters fervently pursuing their aspirations and seeking to carve out their own destinies. It is also a love story about Heraldo, a young defiant outsider, and Dayana, a woman who dares to confront society’s expectations. Their encounter at Motel Destino ignites a vivid spark that challenges the constrained future society has laid out for them”.

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After two short films, “Bird” and “Fanny“, Norwegian director Halfdan Ullmann Tøndel presents his debut feature, “Armand“, in the Un Certain Regard section of the 77th Cannes Film Festival.

Grandson of Ingmar Bergman and Liv Ullmann, Halfdan Ullmann Tøndel chooses to have by his side, actress Renate Reinsve, who, since her breakout role in “The worst person in the world“, is, film by film, showing her abilities in embodying different and multifaceted characters.

Taking place entirely in a school before the holidays, the film sees Renate Reinsve in the role of a mother being called in for a meeting at her son Armand’s school as something happened between him and his friend Jon.

“I thought it was both interesting and funny to use the idea of something «adult» that had happened between two kids as a base for the story” says Ullmann Tøndel in his press notes as he reveals that “he wanted to explore the grey areas of boundaries and how we deal with them in society nowadays”.

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For his first feature film, “The village next to paradise“, screening in the Un Certain Regard competition of the 77th Cannes Film Festival, director Mo Harawe decided to depict his home country, Somalia.

Following his acclaimed short films “Life on the Horn and Will My Parents Come to See Me“, the director explores his country’s potential to become a paradise.

By portraying the members of a family and their navigating through aspirations, ambitions and objectives, Mo Harawe managed to show Somalia from an insider’s perspective.

As for the title, the director Mo Harawe explains that it works on two levels: On the one hand, there is this village by the sea, where it’s very beautiful, so it relates to the idea of being “next to paradise”. There are lovely places in Somalia, with lovely, wild beaches. On another level, this name can represent Somalia itself; the country has such incredible potential. Somalia is a country “next to paradise”; it is potentially a kind of paradise, but for many reasons that potential isn’t being realized.

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After directing a successful short film, “Olla“, actress turned director Ariane Labed presents at the 77th Cannes Film Festival her debut feature, “September says“.

Based on Daisy Johnson’s 2020 novel’ Sisters’, the film stars the young though remarkable actresses Pascale Kann and Mia Tharia and, in the role of their mother, Rakhee Thakrar, well known for the Netflix series “Sex Education“.

“September says” depicts the loving but toxic relationship of codependence between two sisters, very close in age, the fragile but violent September and the most docile July.

Labed who admits to not remember whether she was always faithful to the book or not, as author Daisy Johnson gave her freedom to adapt it to screen as she felt right, explores power games and “how unconditional love in family can be very powerful and terribly dangerous”

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At the 77th Festival de Cannes, we interviewed Gints Zilbalodis who presents his new film “Flow”, a visually captivating journey showcased in the Un Certain Regard section.

 Gints Zilbalodis reflects on how his experiences with “Away” influenced his approach to “Flow”. “With ‘Away,’ I improvised a lot, but for ‘Flow,’ I had a complete script,” he explains. “Writing is challenging for me, but I had to learn to rely on others.”

Discussing the ambitious technical aspects of “Flow,” Gints Zilbalodis reveals, “I come up with the movement of the camera first, and then what happens in the scene. It’s a film without dialogues, so I had to find other ways to convey the characters’ emotions, and one of these ways is the camera.” This innovative approach underscores the film’s visual storytelling, where every frame is meticulously crafted to evoke emotion.

In “Flow,” the protagonist is a cat, and its journey is both physical and emotional. Gints Zilbalodis elaborates on depicting the cat’s internal transformation, emphasizing two main fears the cat must overcome: water and the others. “These fears are linked, so I pushed the cat against these elements in a world that combines various environments to convey emotions. I start from the character and build a world around him,” he says, highlighting the symbiotic relationship between character development and world-building.

 Gints Zilbalodis, who also scored “Flow,” discusses his approach to integrating music with visual storytelling. “The music is very important in this film. I avoided using a theme score, opting instead to edit the film with music already in place,” he notes. Collaborating with composer Gurwal Coïc-Gallas, Zilbalodis created a rich musical landscape that complements the film’s visuals. “We recorded with a full orchestra, which was a great emotion for me. Some scenes are without music, where sound design plays a crucial role in immersing the audience into the world of ‘Flow.'”

When asked about what he hopes audiences take away from “Flow,” Gints Zilbalodis shares, “I have my own idea of what the film means, but it’s hard to explain in words since the film has no words. I’d say that it’s important to trust others but stay independent at the same time.”

“Flow” is a testament to Gints Zilbalodis‘ unique vision and storytelling prowess. Through its visually stunning animation, evocative music, and profound themes, the film invites audiences to embark on a journey of fear, trust, and self-discovery. “Flow” is a groundbreaking example of contemporary animation that will undoubtedly spark discussions for times to come.

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