FRED Film Radio - English Channel

A delightful and cheerful interview recorded in the Mamounia about Élise Girard‘s beautifully written, shot, and interpreted third feature film with the director and her lead actress Isabelle Huppert, where we discuss the many nuances of the eponymous character, the precision of the writing, Japan, body language, the magnificent love scene, strength and fragility, handbag holding, burlesque elements, ghosts, the visible and the invisible, amongst many other things.

“Sidonie in Japan” world premiered at the Giornate degli Autori. It was presented in Marrakech amongst the Special Screenings.Sidonie in Japan

The post “Sidonie in Japan”, interview with director Élise Girard and actress Isabelle Huppert appeared first on Fred Film Radio.

“So much in film is about finding a kind of trust and a kind of language […], and if you have that once, it’s a little easier to return to it, but there’s also that thing that I like to be part of someone’s vocabulary, and they’re invested in you, so they give you different things to do, they aren’t trading on a persona that you’re created because you’re a fluid thing for them because you’re part of their work. You’re a color in their palette and you gotta show up and be there to be that color… It’s a way to enter their iconography or their language, their vocabulary.”

“Obviously, because you’re seen as the old hand and they’re seen as the new person, the balance can be messed up. […] An actor can’t have too much power over a director, I just don’t think that’s a good working relationship. You do try to help them, but you also try to fold in and become material for them.”

The post “Conversation with” at the 20th Marrakech IFF, interview with actor Willem Dafoe appeared first on Fred Film Radio.

“Kalak“, the new feature film by Isabella Eklof is based on a book of the same title , narrating the consequences of a family abuse, set in a fascinating but haunting Greenland village. The film has been awarded with the Jury Award and Best DoP Award at the  71st San Sebastian Film Festival.

The film narrates the pain in the memory of an abuse and the need of put distance, both physical and mental, from that event. And consequently, the need to be loved.

This is a line that is slap in the face the summarise the feeling of jan the main character of “KalaK“, by Isabella Eklof. Dialogues are essential but powerful throughout the film, and it is one of its strongest features.

The post “Kalak”, interview with the director Isabella Eklof appeared first on Fred Film Radio.

We are meeting with Pilar Orero, professor of Audiovisual Translation at the Universitat Autònoma de Barcelona, in Rome, at Cinecittà studios, on the occasion of the 1st edition of an Italian conference on audio description, Audecon. Orero is the keynote speaker as she’s one of the major international experts on  audio description and media accessibility and she also launched ARSAD, the international conference on AD in Barcelona.

Pilar Orero tells us more about the topic she discussed during the conference such as accessibility in the Metaverse that is becoming as important as it is in the “real” world.

As everything happens at the Cinecittà studios, where the magic of italian and international cinema took place, the focus of our discussion with Pilar Orero is AD for films and TV series as filmmakers but also distributors and producers are still not doing enough to grant what is a human right: the possibility of accessing a piece of art, like a film, an audiovisual project, a Tv series, a program like every other person.

Pilar Orero also comments on the new European Accessibility Act and its impact on hopefully and finally spreading accessible versions in Europe besides, she gives an update on the number of projects she’s carrying on at the moment: Accessibility in the Metaverse, Greenscent ( a project about green accessibility), and European projects about subtitling for immersive content and VR that she presented at the Venice Film Festival.

Orero finally gives her blessing and relies her hopes on InCinema Festival, a film festival completely inclusive with all films accessible but also all collateral events (typical of film festivals) such as Q&As and masterclass accessible as well. Hopefully INCinema can start and work at a European level.

The post Pilar Orero, interview with the professor of Audiovisual Translation at the Universitat Autònoma de Barcelona appeared first on Fred Film Radio.

In an exclusive interview at the 25th Jio Mami Mumbai Film Festival, director Amanda Nell Eu shared profound insights into her latest film, “Tiger Stripes.” The Malaysian-born filmmaker explored the horrors of puberty and societal apprehensions about the female body in this feminist body horror narrative.

“Tiger Stripes” unfolds the story of twelve-year-old Zaffan, played by an exceptional cast, navigating the challenges of adolescence and the terrifying secrets it holds. Eu explained the significance of the film’s title, a metaphor for stretch marks symbolizing the pains and insecurities associated with growing up.

A significant part of Eu‘s work, including her past shorts like “Lagi Senang Jaga Sekandang Lembu” and “Vinegar Baths,” pays homage to the monstrous feminine within the Southeast Asian context. Eu expressed her mission to challenge societal fears surrounding the female body by presenting strong, powerful female characters.

The film, a first for Eu as a full-length feature, holds the distinction of being the first directed by a female director from Malaysia to premiere at the esteemed Cannes Film Festival. Although regional release dates are yet to be announced, Eu remains optimistic about a debut by the end of the year or early next.

During the interview, Eu reminisced about her childhood in Malaysia, steeped in old wives’ tales and stories about mythical figures like the pontianak. These childhood tales became a gateway to her love for horror and cinema. Having moved to the UK for studies, Eu experienced a sense of not fitting in, both there and upon returning to Malaysia after completing her education. However, these experiences have shaped her identity and filmmaking process.

Eu‘s fascination with Southeast Asian female icons, such as the pontianak and the penanggalan, reflects her commitment to celebrating the strength and power within the seemingly hideous aspects of femininity. She emphasized her intention to subvert traditional tropes and empower women through her films.

“Tiger Stripes” stands as an eight-country co-production, with funding from Malaysia’s PENJANA and Singapore’s Infocomm Media Development Authority. Eu highlighted the importance of international collaboration, expressing gratitude for the valuable contributions of experienced co-producers and crew members from various countries.

The director revealed that the film’s inspiration was deeply personal, rooted in her own experiences and insecurities during the tumultuous period of puberty. As the narrative evolved, Eu found that the themes of bullying, friendship, and body insecurities remained universally relevant.

Working with a mix of young actors and seasoned veterans, Eu created a tight-knit unit where experienced actors mentored the younger cast. She praised the intelligence and natural instincts of the young actors, creating a collaborative and supportive environment on set.

Looking ahead, Eu shared her plans for the next feature, expressing a desire to challenge herself by creating a film set in 1930s Malaya pre-World War 2. The film will explore mature themes around marriage, expectations of womanhood, and motherhood within a vibrant yet peculiar historical context, infused with elements of horror.

As the interview concluded, Eu reflected on the ongoing journey of self-discovery and empowerment. Her commitment to celebrating characters that defy societal norms and expectations remains unwavering, promising audiences more thought-provoking and empowering narratives in the future.

The post “Tiger Stripes”, interview with Amanda Eu appeared first on Fred Film Radio.

After “Sick of Myself“, Kristoffer Borgli directs the dark-comedy “Dream Scenario”, produced by American independent entertainment company A24 and by Ari Aster (“Beau Is Afraid“),  and starring a surprising Nicolas Cage. Previewed at the Rome Film Festival 2023, the film will be released in Italian cinemas from November 16th distributed by I Wonder Pictures.

“My movie plays on the idea of the collective unconscious and that we all like share a part of our psyche where we have the same ideas crop up in different parts of the world at the same time, because there is some shared link between us all – the norwegian Borgli explains about the origin of the movie – And I like that the collective unconscious as concept feels like it resonated with how we live our lives now that we’re so connected and we don’t meet each other physically as much, but we’re in each other’s heads all the time”.

Director defines “Dream scenario“ a “sort of a parable, a cautionary tale about engaging with the public psyche about the mass culture, and that it can be anything could look and feel pretty miserable. I’m engaging with the public and then the collective consciousness with my movies. I think as long as I can interject myself through my art, and not me personally, I feel safer”.

Borgli was always a big fan of Cage. “He was someone that I’ve admired since I started getting into movies. I worked at a video store when I was a teenager and was in love with so many of his films. I didn’t have anyone in mind when I was writing the script, but then I think about him”, director says, adding that between the character and Cage there are similitudes: “Nicolas is like a cultural artifact. And he’s mysterious and idiosyncratic and strange. He’s never left the collective unconscious”. 

The post “Dream Scenario”, interview with director Kristoffer Borgli appeared first on Fred Film Radio.

Sense of community, solidarity, humanity, mutual understanding and hope can help to overcome the gap that divides different people. After winning two Palms d’Or (for “The Wind That Shakes the Barley“ and “I, Daniel Blake“), Ken Loach has returned in competition at Festival de Cannes 2023 with “The Old Oak“, a political and social movie always written with Paul Laverty, and in Italian cinemas from November 16th distributed by Lucky Red.

During our meeting in Cannes, Loach said: “Strength, solidarity and resistance are words of our time. But there are other important words, such as organization. Without it we cannot win”.

According to the director, 87 years old, “We live in a digital society that isolates us from each other and makes it difficult to create moments of solidarity. But community forms are possible, because the problems affect everyone”.

Loach and Laverty believe in hope, as we can see in “The Old Oak“: “Hope is a political question. If people have hope it means they believe they can change things. If people don’t have hope, they are cynical, feel weak and desperate”.

The post “The Old Oak”, interview with director Ken Loach and screenwriter Paul Laverty appeared first on Fred Film Radio.

In an intimate conversation with Fred Film Radio at the 64th Festival dei Popoli, Pedro Costa, the visionary filmmaker, unravels the mysteries behind “Vitalina Varela“, offering insights into the poetic tapestry of his cinematic creation.

Costa reflects on the genesis of the film, stating, “I think the story started a long time ago when I met Vitalina in Horse Money. I met her in Lisbon; she just arrived from Cape Verde. She was not an actress at that time. We shot a little scene, and I thought, “One day, I will go to Cape Verde. One day, we’ll do this story.’ It started in my mind a long time ago, but we only shot three years ago.”

As the conversation delves into the distinctive aesthetic choices of “Vitalina Varela” , Costa expounds, “The film was made with very few people, very small equipment. We shot it in a very simple way, the way I like to do it“.  This minimalist approach, characteristic of Costa‘s filmmaking, serves to emphasize the authenticity and rawness of the narrative.

Costa sheds light on his collaboration with “Vitalina Varela“, emphasizing the unique nature of their partnership. “She doesn’t act. She is not pretending. She is really there. She is herself. And that’s the only way I like to work. We work together. We find a place for her, we find a place for the camera. We find a place for everything. It’s really finding, searching, and discovering.”

The filmmaker delves into the themes of human resilience and the shadows of life portrayed in “Vitalina Varela“.  “It’s about people who live in the shadows of life. They live in the night. They don’t have jobs; they don’t have work. They have nothing. They are really in the shadows. And ‘Vitalina Varela’ is about these people. They have a big story to tell, and they want to tell it,” explains Costa.

As the interview unfolds, Costa reflects on the poignancy of capturing Vitalina’s story. “I think it’s very important to listen to these people. They want to talk, they want to tell us. They want us to look at them. They want us to listen. They want to show us that they are still alive. That they exist.”

The conversation concludes on a note of poetic resonance as Costa articulates, “Every film I do, I’m trying to make a little poem. I’m trying to say something. I’m trying to do something that I don’t know if it’s possible to do in cinema. I’m trying to find a way to do it.” “Vitalina Varela” stands testament to Costa‘s commitment to cinematic poetry, offering audiences a profound and authentic exploration of the human experience.

The post “Vitalina Varela”, interview with the director Pedro Costa appeared first on Fred Film Radio.

In the depths of an exclusive interview with Fred Film Radio at the 64th Festival dei Popoli, Liv Ullmann, the revered actress and director, intricately unfolds the tale of her collaboration with Ingmar Bergman and the everlasting influence of “Persona”

When reminiscing about those formative years, Ullmann reflects, “When I met him, I had been an actor for seven years and knew he was looked on as a genius. That’s what I thought, too. So when he said he would really like to have me in a film, and wrote Persona for Bibi Andersson and me, I was aware I was to work with an incredible man.”

This awareness, however, transcended mere acknowledgment. Ullmann, who initially perceived it as an opportunity to work with a cinematic genius, was oblivious to the transformative journey that lay ahead. “But I never knew it would mean I would be in 11 of his movies and direct some of his scripts. I had no idea it would mean a big change in my life.”

Discussing the preparation for her role in “Persona“, Ullmann reveals, “If I really feel the role inside, even if it’s very different from me, I will allow it to become a part of me. I’m very happy to work with great directors because they give you the words and the circumstances and then allow you to find the person within yourself. That’s how I work.”

As she contemplates the enduring allure of “Persona“, Ullmann articulates, “At that time – and maybe even today – it was a new kind of movie. Bibi and I were the best of friends and so free towards each other, and the love we felt was very easy to find.” The film, encapsulating a unique portrayal of intimacy between women, became a profound expression of Bergman’s inner musings through Ullmann’s on-screen presence.

Ullmann delves into the personal dimension of Bergman’s life, sharing, “He fell in love with one of the actresses making the movie. I think that love was part of it. He was in despair and suddenly he saw a new beginning.” This pivotal moment marked the end of Bergman’s former life, a transformative shift that went beyond the cinematic narrative.

In contemplating the societal reflections embedded in Persona, Ullmann observes, “I think the film does reflect how society’s perception of gender and identity has changed if we look for it. If we allow that to happen.” Yet, she notes the contemporary challenges of societal disconnect, stating, “But I think in many ways today we are closing our ears to other people’s moods and despair.”

The interview concludes on a note of awakening spurred by recent global events. Ullmann asserts, “But also this terrible war [in Ukraine] has woken people up. And once awakened they want to be a part of it, they want to help. They feel empathy for all the people who are suffering so much. It’s a terrible war, but good things happen in people; they understand things better. We are not alone. We are part of everything. We are not witnesses.“

The post “Persona”, interview with the actress Liv Ullmann appeared first on Fred Film Radio.

Fred Film Radio had the privilege of sitting down with Ulrich Seidl, the visionary director behind the captivating film “Rimini“, presented at the 64th Festival dei Popoli in Florence. In this exclusive interview, Seidl unfolds the layers of his creation, providing a unique perspective on the characters and the city that serves as a backdrop.

The idea for ‘Rimini’ germinated from actor Michael Thomas, whom Seidl knew years ago as a singer. Richie Bravo, the central character, intrigued Seidl with his ambivalence—a man who appears a certain way on stage but grapples with daily survival challenges. Seidl found the character’s constant failures captivating, making Richie Bravo a compelling figure for a film.

The film was initially envisioned as a family drama, focusing on two brothers, their father, and the mother, who, though no longer alive, plays a significant role in their memories. The narrative spans three generations, with characters hailing from different eras, adding depth to the exploration of familial ties. The father, rooted in the Nazi era, introduces historical layers, allowing viewers to reconstruct their stories.

“Rimini” is just one part of a larger project, with another film, “Sparta” featuring the other brother (portrayed by Georg Friedrich) yet to be premiered.

Seidl’s choice of Rimini as the film’s setting offers a unique perspective on the city, contrary to common perceptions. He envisioned the city in winter, shrouded in thick fog, conveying a heightened sense of solitude. Rimini, a place of personal significance for Seidl from childhood, provided an intriguing backdrop with its captivating locations.

Villa Bravo, where the protagonist resides, serves as another compelling element. Once a place of joy, the villa now reflects Richie’s financial struggles, emphasizing the character’s journey and the inevitability of passing time.

Richie Bravo, fundamentally a solitary figure, mirrors the recurring theme of loneliness in Seidl’s filmography. Solitude, for Seidl, is intertwined with narratives of self-realization and the desire for love.

The interview also touches on Seidl‘s role as a producer, supporting young and talented directors exploring innovative cinematic languages. Seidl acknowledges the perennial challenge for young filmmakers to secure the necessary means and funds for their projects. He emphasizes the importance of institutions supporting new names and projects, fostering diversity in ideas and cinematic languages.

Reflecting on his cinematic influences, Seidl mentions filmmakers such as Pier Paolo Pasolini, Werner Herzog, and Luis Buñuel, who inspired him in his early career. While Rimini might evoke thoughts of Fellini, Seidl aligns himself more with Pasolini due to a shared affinity for a realistic approach.

Seidl concludes with advice for aspiring filmmakers, urging them to stay true to themselves, remain steadfast in their vision, and resist compromising their artistic integrity. He underscores the difficulty but ultimate necessity of forging one’s path, as those who persist and follow their unique narrative voices are the ones who prevail in the cinematic landscape.

The post Interview with Ulrich Seidl at the 64th Festival dei Popoli appeared first on Fred Film Radio.