FRED Film Radio - English Channel

“No Other Land” is probably the most urgent film in this year’s Berlinale. The documentary directed by a collective composed by Basel Adra, Yuval Abraham, Rachel Szor and Hamadan Ballal is a reconstruction and demonstration of the process of forced extradition from their own territories of the Palestinian communities of the Masafer Yatta region, in the Gaza strip, made by the Israeli government.

The process started back in the early 70’s and still goes on now, being more actual and urgent due to the recent development of the conflict in that region.

Yuval is Israeli (as Rachel), Basel is Palestinian (as Hamadan , and with “No Other Land” they demonstrate that the collaboration and community of beliefs and intents is possible. They all fight the same fight with the same goals. Yuval is considered a traitor from some of the press and the institutions in Israel, but he wants to be true to himself and fight for right cause.

Since his childhood Basel’s parents taught him to stand up for the cause of freedom and kept on shooting images and footage of the occupation’s development, as Basel is still doing now. The footage to choose from was a lot and choices have been difficult, in order to give the best possible ( and more real) demonstration of what was and is actually happening in the area.

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Aaron Schimberg‘s third film, “A Different Man“, in competition at the 74th Berlinale, is a tale about the perception of beauty and the need of acceptance from others. In this talk with him and one of the lead actors Sebastian Stan, we discover more about the creative process and the motivations of the characters in this audacious drama.

Playing Edward, an aspiring actor who undergoes drastic medical and surgery procedure to change his facial features, in “A Different Man“, Sebastian Stan points out how insecurity is a key issue in our times, where acceptance is social and widespread. Plus, the fact that Edward is an actor  is an additional element to this.

Film-wise, “A Different Man” is a mixture of genre’s languages that Aaron Schimberg naturally juxtaposes; as he says, there is no mechanical or forced choice for this in the writing process, it has been a natural flow that  ended with a screenplay that goes back and forth from drama to comedy, to thriller to horror to grotesque.

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After shaking things up in his country, Georgia, with his amazing “And then we danced“, presented in Cannes at the Quinzaine in 2019, Georgian director (based in Sweden) Levan Akin is at the 74th Berlinale to open the Panorama section with “Crossing“.

Loosely based on a true story about this grandfather being the only supporting person in his trans granddaughter’s life, “Crossing” is about a woman Lia, on a journey to find her trans niece in Turkey. The film as about intergenerational dialogue and to quote Akin “his tribute to solidarity” as his characters are like a door into different worlds that beautifully and for some people unexpectedbly, meet.

Crossing is also a love letter to Instabul, a city that Levan Akin have known his whole life as he spent every summer of his childhood there. The director says: “It is also a place where all kinds of people and circumstances exist, so it’s easy to find a space of acceptance there”.

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With the EFM 2023 delivering a brilliant return to the physical format, breaking all previous participation and exhibition records, Denis Ruh , director of the film market in Berlin is ready to embrace the 2024 edition.

The EFM of this year is focusing its industry sessions on the topic of Artificial intelligence as the “issue” is bigger than the film business and it invades all areas of people’s lives.

The Country in Focus of the 2024’s edition, as announced at the Cannes Film Market last may, will be Italy as this was the Berlinale Market intention since 2021 where, unfortunately, the EFM had to move to an online version which didn’t allow a Country in Focus section to be properly put into place.

With the 2024 edition being the last one of his mandate as director of the EFM, Denis Ruh looks back at his three difficult editions and his team’s achievements such as transforming the EFM into a online market event and then turn it back into the on-site huge film market event, the first one to start the cinematographic year.

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After its world premiere at the 2023 edition of Sundance Film Festival and its italian premiere at the 41st Torino Film Festival, in November 2023, You Hurt my feelings by director and scriptwriter Nicole Holofcener is finally landing in Italian movie theaters from February 8,2024 with Vertice 360.

Starring again Julia Louis-Dreyfus, 10 years after Enough Said, the film tries to answer a difficult and tricky question: “where do you draw the line between being supportive and being honest?”

With the story of a popular writer (Louis-Dreyfus) who feels betrayed by her husband as she accidentally discovers that he doesn’t really like her new book, Holofcener  analyzes the value of truth in relationships. “Is it OK for someone to love me but not love everything I do? Or is my ego so frail it can’t take it? The script flowed from that concept – says Holofcener –  and as it did, it became about marriage, truth, loyalty, and parenting.”.

You Hurt my feelings also talks about the protagonist’s relationship with her son as it is very difficult to find a balance between telling the truth to your son/ daughter about their abilities and their flows and still make them feel whole and ready for today’s world with the necessary level of support.

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“Festivals are a place for a collective experience”, reminds us Carlo Chatrian,  the Artistic Director of the 74th Berlinale. As Film festivals provide a space for artistic expression and enable peaceful dialogue, Chatrian confirms that this edition of the Berlin International film festival is definitely dedicated to intercultural understanding through arts and through film.

“The moving images of this festival are precious, like a forest facing extinction” with this concept in mind, Director Chatrian explores this year’s program and highlights that all the films selected,  even when they entertain (there are several comedies in the programme) , they do so to remind us that we are beings made of flesh and blood.

The competition jury of this year will have Lupita Nyong’o as President, a multifaceted artist, say Chatrian, perfect for the role. The festival will also pay homage to two Masters of World Cinema: Martin Scorsese and Edgar Reitz.

The 74th Berlinale will be Carlo Chatrian ’s last edition as from 2025 on, he will be succeeded by former London Film Festival’s director Trisha Tuttle. The Artistic director is proud to be leaving a Berlinale that has become, along his direction years, a very strong, balanced and valuable key event in the cinematographic world.

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In an exclusive interview at the 35th Trieste Film Festival, we had the privilege of sitting with Katalin Moldovai, the director and co-screenwriter of the critically acclaimed film “Without Air”. Moldovai shared her emotions about receiving multiple awards at various festivals, with a particular focus on the recognition garnered at the Trieste Film Festival, where the film won the special mention for lead actress Agnes Krasznahorkai, the Cineuropa award, and the prestigious audience award.

Moldovai expressed particular pride in winning the audience award, emphasizing her desire for “Without Air” to resonate with people. The director believes that cinema is a powerful medium for connecting with audiences, and winning the hearts of viewers at Trieste validates her vision of creating a film that speaks to the collective human experience.

The heart of “Without Air” lies in a captivating story inspired by a real-life case Moldovai stumbled upon in a newspaper article. The film revolves around Ana, a literature teacher facing unexpected accusations after recommending Agnieszka Holland‘s film “Total Eclipse” to her students. Moldovai was drawn to the absurdity of how a single complaint could upend a dedicated teacher’s life, prompting reflections on the influence of Eastern European heritage on daily existence.

Moldovai went beyond inspiration by meeting the teacher involved in the incident, who shared documentation and insights. This encounter allowed Moldovai to delve deeper into the true story’s nuances, understand the real-life consequences, and compare them to the narrative choices made in “Without Air.”

As “Without Air” marks Moldovai‘s first feature film, we delved into the challenges she faced during its creation. She reflected on cinema as a tool of resilience, capable of surviving censorious and austere climates. Moldovai discussed the relationship with co-screenwriter Zita Palóczi, highlighting the collaborative effort that brought “Without Air” to life.

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At the Cannes Film Festival, we briefly met Mia McKenna Bruce, the talented protagonist of Molly Manning Walker‘s “How To Have Sex,” who shared her experiences of bringing the character Tara to life. As the film’s central figure, McKenna Bruce played a pivotal role in portraying the complexities of resilience and strength in the aftermath of a bad experience.

From the outset, Mia McKenna Bruce captured the attention of audiences with her portrayal of  Tara in “How to Have Sex”. Walker emphasized the importance of not depicting Tara as a helpless victim, and McKenna Bruce infused the character with an effervescent energy. Compassionate and caring when needed, Tara remains loud, and bubbly, even after the assault, unable to define what happened or manage those emotions of pain, disbelief and shame.

The “How to Have Sex” location was in Malia in Greece. As the actress reveals, the whole team had an unforgettable experience shooting in Malia. Filming of the film began towards the end of the tourist season, and then continued afterwards, when the location was practically entirely used for the production of the film, supported by the local community.

In the interview, Mia McKenna Bruce delved into her preparation for the role, emphasizing the need to understand Tara’s resilience and multifaceted personality. The actress expressed her commitment to bringing authenticity to the character, ensuring that Tara’s vibrancy and lust for life shine through, even in the face of adversity.

McKenna Bruce shared the film’s powerful message, expressing a desire for audiences to comprehend the depth of resilience and the need for open conversations about consent.

“How To Have Sex” is available on MUBI.

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At the Cannes Film Festival, we had an insightful conversation with the talented filmmaker Molly Manning Walker about her feature debut, “How To Have Sex.” In this interview, Walker shared her ambitious vision for the film, aiming to capture the highs and lows of teenage experiences, mainly focusing on the nuanced aspects of sexual assault and the importance of consent.

Walker emphasized that “How To Have Sex” goes beyond the conventional narrative surrounding sexual assault. It explores the complexities of consent with fluid language, challenging the often silent and uncomfortable nature of discussing these experiences. The film also sheds light on teenage spaces and parties’ joys and resilience that can emerge from such challenging situations.

The inspiration for “How To Have Sex”, as the director herself confesses to us, comes from her personal experiences and those of the people she knows. These experiences became the beating heart of the film, shaping a story that delves into the influence of sexual pressure on young people’s lives.

Walker wants “How To Have Sex” to spark conversations, especially among teenagers. By addressing both the exhilarating and challenging moments of adolescence, the film aims to encourage open discussions about consent, friendship, and the often-shamed aspects of sexual experiences.

“How To Have Sex”, winner of the 2023 Un Certain Regard Award, is not just a film but a catalyst for change. With her first feature film, Molly Manning Walker invites audiences to revisit the tumultuous journey of adolescence, highlighting the importance of conversations that go beyond the surface, exploring female pleasure, and redefining expectations around consent.

“How To Have Sex” is available on MUBI.

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When Soghomon Vardanyan, 21, a music student, was close to completing his mandatory military service, Artsakh (Nagorno-Karabakh) War flared up again in 2020. Soghomon disappeared on the seventh day of the War and his sister, musician turned director  Shoghakat started filming her waiting, her search and that of her whole family to understand what happened. This is how documentary film 1489 was born and how Shoghakat Vardanyan became a filmmaker.

The film had its italian premiere at the 35th Trieste Film Festival after winning documentary festival IDFA’s best prize. The jury at the Festival wrote that the film showed how cinema could also become a “tool of survival”.

Shoghakat Vardanyan does not only agree with this definition but adds that the jury also said that cinema and this film in particular was “an act of love”.

After this experience filming herself and her whole family processing happenings, injustice and loss, Shoghakat Vardanyan confirms that she wants to pursue the filmmaking career and definitely wear the film director’s hat beside the musician’s one.

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