FRED Film Radio - English Channel

PODCAST| Nicolò Comotti interviews Jonathan Vinel and Caroline Poggi, directors of the film Jessica Forever.

Directors Caroline Poggi and Jonathan Videl describe the journey that led to the making of their debut film Jessica Forever. Shaped by its highly original influences and a deeply unique way of representing Cinema, Jessica Forever is the duo’s ambitious start in the realm of long feature filmmaking, following their success in 2014 when they won the golden Bear for shorts with As Long as Shotguns Remain. Jessica Forever is part of Panorama’s official selection.

Jessica Forever: A blonde-haired boy crashes through the glazed wall of a suburban house and falls to the floor, unconscious. A militia of young men carries him away. They are led by a young woman, a blue-eyed, futuristic Jeanne d’Arc. They exit just as a swarm of threatening drones invades the room. A voice-over informs us that the state has deemed these boys to be violent orphans and social outcasts and the authorities are now hunting them down. What follows is a quiet but emotional story of brotherhood, angst, mutual protection, violent impulses and infinite tenderness amongst a band of hyper-masculine warriors living under the protective wing of the caring Jessica. True to the themes of their short films, and featuring the young tribe that populates their previous works, Caroline Poggi and Jonathan Vinel’s first feature combines a minimalistic plot, fantasy elements and hyper-realistic cinematography to create a lifelike version of a video game environment, in which alienation and isolation can only be conquered by affection. Friends forever. Love forever.

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PODCAST| Chiara Nicoletti interviews Matthjis Wouter Knol, director of the European Film Market.

The Director of the EFM, Mathijs Wouter Knol opens up this year’s interview on the 2019 edition of the EFM by describing how challenging but inspiring it is to be the first film market of the year and not only one of the most important ones. While confirming all the panels, events and sections introduced successfully in the past years, the year 2019 is not only about representing what’s happening in the film business but it’s about actually doing something to promote new initiatives or simply a change. This year’s EFM aims to increase, promote and generate inclusion and diversity in production, co-production, access to funds and distribution. Following Mexico and Canada, the 2019’s Country in Focus is Norway, an European country ready to bloom and reach its full potential. At the 16th edition of Berlinale Co-production market, made of 600 international producers and financiers 37 new feature film projects whose producers are looking to team up with co-production partners from other countries have participated. The EFM always keeps an eye on the new digital and technical developments and Artificial Intelligence is under the microscope in the event heading “The Transforming Force of AI: Hype or High Potential?”. Mathijs Wouter Knol also clarifies what’s the EFM’s point of view on the Netflix controversy and the general discussion of the movie theatre vs online platforms .

Originally launched in 1978 as the commercial component of the Berlin International Film Festival, the ‘film fair’ really took off with the arrival of Swiss exhibitor Beki Probst, who renamed the market into European Film Market in 1988. The EFM has since grown to become one of the top three film markets in the world. For nine days during the Berlinale, representatives of the international film industry — producers, buyers, sales agents, exhibitors, and financiers — come together to explore, to connect, and to do business. Strongly positioned as the first market event of the year, the EFM serves as kick-off for the upcoming year in film.

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PODCAST| Nicolò Comotti interviews Renate Ranzi and Birgit Oberkofler, IDM Südtirol and Alto Adige’s Film Fund & Commission coordinators.

IDM Südtirol and Alto Adige’s Film Fund & Commission coordinators Birgit Oberkofler and Renate Ranzi tell us about their achievements and their future goals to make IDM an ever-growing and successful identity in the European film landscape.

This interview was recorded during the 2019 European Film Market, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency. To discover more about the IDM Südtirol Alto Adige, click here.

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PODCAST| Sarah Bradbury interviews Stephan James, actor of the film If Beale Street Could Talk.

We sat down with American actor Stephan James to discuss the themes of love, racial injustice and black masculinity in Barry Jenkins’ screen adaptation of James Baldwin novel If Beale Street Could Talk ahead of its UK release.

If Beale Street Could Talk: For the follow-up to his Oscar-winning Moonlight, director Barry Jenkins chose to adapt the 1974 James Baldwin novel If Beale Street Could Talk. The film tells the story of Tish and Fonny, played by KiKi Layne and Stephan James, whose childhood friendship blossoms into romance until a cruelly unjust criminal system allows Fonny to be jailed for a crime he didn’t commit. A strong supporting cast – Regina King, Colman Domingo – completes a beautifully crafted, visually powerful and elegiac screen version of a tale that carries with it timely themes of racial justice as well as a belief in love trumping all else.

To discover more about the film, click here.

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PODCAST| Nicolò Comotti interviews film translator Andrea Kirchhartz.

Andrea Kirchhartz is an expert of Film translation in all its facets: subtitling, book translation, Live Voice-Over and plenty more. On the occasion of the conference and the presentation of the book The Translation of Films, 1900-1950 – edited by Jean François Cornu and Carol O’Sullivan – Andrea reveals a few tricks she has learnt over the years. Although, perhaps, the real secret is only one: an unconditional love towards Cinema and all its forms.

Andrea Kirchhartz studied Theatre, Film and Television Studies in Cologne and Paris and has worked as a freelance film translator for subtitling, voice-overs and dubbing since 1999. She translates screenplays and texts in the field of Film Studies and is an interpreter at festivals. She is a member of the subtitlers’ association Untertitelforum – AVÜ.

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PODCAST| Nicolò Comotti interviews translator Ian Burley.

Ian Burley thinks back on how everything began: from a job opportunity that seemed just another shot in the dark, to becoming one of the most prominent French to English film translators.

After a post-graduate course in subtitling, Ian Burley began work as a subtitler and script translator for the French, Belgian and Italian film industries and has collaborated regularly with such renowned directors as Alain Resnais, the Dardenne brothers, Robert Guédiguian, Nicolas Philibert, Bertrand Bonello and Bruno Dumont. He holds degrees from the University of Swansea, Université de Bretagne Occidentale and Université de Lille III.

To know more about Ian, click here.

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PODCAST| Nicolò Comotti interviews translator and reasearcher Jean-François Cornu and Carol O’ Sullivan.

Jean-François Cornu and Carol O’Sullivan introduced their book The Translation of Films, 1900 – 1950 within the setting of the Deutsche Kinemathek in Berlin. The panel that followed turned out to be an invaluably insightful discussion on the state of Film Translation today, while keeping an eye on its fascinating past.

The Translation of Films, 1900 – 1950: Since the early days of cinema, film translations have had a great influence on people’s perception of movies, but it is an area that few researchers have explored. The Translation of Films, 1900–1950 is the first book-length publication on the history of audio-visual translation. Editors Carol O’Sullivan and Jean-François Cornu introduce this collection of essays offering various perspectives on the translation of films into other languages in the silent movie era and the first few decades of sound films. Following that, director Elfi Mikesch, film restorer Julia Wallmüller, and translator Rebekah Smith will discuss the subtitles created for the 2018 digitally restored version of Mikesch’s Ich denke oft an Hawaii (I Often Think of Hawaii, 1978). A comparison of the new subtitles and the ones from the film’s release year demonstrates how standards and available methods have changed over the years, and illuminates the special challenges in translating an historical film work.

The post Jean-François Cornu, Carol O’ Sullivan – The Translation of Films, 1900 – 1950 #Berlinale2019 appeared first on Fred Film Radio.

PODCAST| Angelo Acerbi interviews Simone Gandolfo, President of the Vallée d’Aoste Film Commission.

Simone Gandolfo proudly talks with FRED about the activities and the successes of the Vallée d’Aoste Film Commission, based in the smallest region of Italy but very active and productive, especially in these last years.

This interview was recorded during the 2019 European Film Market, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

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PODCAST| Angelo Acerbi interviews Emma Barboni, member of the Emilia Romagna Film Commission.

Emma Barboni from the Emilia Romagna Film Commission introduces to FRED the activities and features of her film commission, including all economic helps that are given through the calls of its film funds.

This interview was recorded during the 2019 European Film Market, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency. To discover more about the Emilia Romagna Film Commission, click here.

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PODCAST| Chiara Nicoletti interviews Selma Vihunen, director of the film Stupid Young Heart.

Stupid Young Heart comes from the screenwriter Kirsikka Saari’s idea, tells director Selma Vilhunen who’s at the 69th Berlinale to present it in the Generation 14 plus section. The director, who already won Alice nella Città in Rome with Little Wing, reveals how Saari had always wanted to write a film about teenage pregnancy in Finland and then they both managed to mix this topic with another essential theme to be talking about nowadays: the strong need for adolescents, for teenagers to belong in a group, whether it is a political one or religious. The two young parents to be are apparently different from one another but they both can be fiery and in the end capable of becoming parents.

Stupid Young Heart is about the first love between the skinny and carefree Lenni and the gorgeous and popular Kiira. Not yet in a relationship, nor out of highschool, they discover that they are expecting a baby. Lenni has nine months to become a man. Having grown up without a father figure, Lenni finds longed-for adult attention and guidance from an unlikely friend Janne, a member of a right wing group that has recently moved into Lenni’s diverse neighbourhood. After taking part in a scrambled attack on a local Mosque, while Kiira is rushed to the hospital to give birth, Lenni realises that he must learn to be a man in his own way, even though he never had a chance to be a child himself.

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