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During the 82nd edition of Venice International Film Festival we spoke with director Kent Jones and actor Edmund Donovan for the film “Late Fame”, presented in Venice 82 in the Orizzonti section. The film tells the story of Ed Saxberger, a poet of the New York’s “old guard” that many years ago published a book that didn’t get the attention it deserved, but that now is being rediscovered by a new group of young artists. This late recognition allows him to make peace again with his talent, and to reflect on his cultural relevance.

During our interview with FRED Film Radio, our guests Kent Jones and Edmund Donovan expressed their thoughts on the retro-mania that happens often in the present time, but also on what does it mean for the contemporary youth to seek for icons to look up to.

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During the 82nd edition of Venice International Film Festival we spoke with Willem Dafoe and Greta Lee, main actors of the film “Late Fame”, directed by Kent Jones and presented in Venice 82 in the Orizzonti section. The film tells the story of Ed Saxberger, a poet of the New York’s “old guard” that many years ago published a book that didn’t get the attention it deserved, but that now is being rediscovered by a new group of young artists. This late recognition allows him to make peace again with his talent, and to reflect on his cultural relevance.

During our interview with FRED Film Radio, our guests Willem Dafoe and Greta Lee focused on the connection between cultural justice, authenticity and social reparation, on the New York downtown artistic scene and on the symbiotic relationship that these two characters have with the production of art, in every form.

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Laura Poitras comes back to the Venice International Film Festival this time for a co-direction, with Mark Obenhaus, of a strong documentary film, “Cover-Up”, with and about Seymour Hersh, Pulitzer Prize recipient and worldwide famous investigative reporter.

Laur Poitras cannot stress enough how the work od Seymour Hersh  is unparalleled in journalism in the United States. And what he has revealed , particularly about the government, the US government and abuse of power, which is a theme  she cares about a lot. He was very, very protective of his process and his sources. And he also didn’t want to be the focus of the film: it’s his journalism that’s the subject. But, he is a really fascinating character: making the audience to  get a taste of that complex character that is Seymour Hersh was always a goal for the directors.

Laura Poitras and Mark Obenhaus agree on the fact that they would have not spend the two and a half years of their lives and they wouldn’t be asking Sy for over almost two decades to make the film if they didn’t think it was historically relevant. Today, it’s all about the press and the importance of having an adversarial investigative press that challenges state narratives and does that consistently and uncovers facts. We needed it in the 60s. We need it today.

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Discover the dark yet immersive world of “Bearcave”, a compelling film premiered at the Venice Film Festival’s Giornate degli Autori section. This Greek-inspired story explores themes of folklore, collective memory, and haunting visuals, weaving a rich tapestry that captivates audiences through its striking imagery and innovative sound design.

“Bearcave” emerges as a vivid reflection of Greek mythology, with the backdrop set amid rugged mountains and traditional folklore. The filmmakers draw deeply from regional influences, blending personal experiences with artistic vision to craft an evocative narrative. According to the director, the film’s collective approach was instrumental in navigating the story’s complex layers—a process that fostered collaboration and enriched the final product.

Throughout the interview at Venice, the creators emphasized how their regional ties and shared creative effort shaped “Bearcave” allowing them to authentically depict the spiritual and cultural nuances of Greek tradition. This collective ethos not only supported story development but also enhanced the film’s atmospheric depth, drawing viewers into a world where myth and reality intertwine.

A standout aspect of “Bearcave” is its distinctive soundscape, crafted by acclaimed composer John Turnes. The soundtrack is a hybrid blend that balances sharp, modern sound design with traditional musical elements, creating a layered auditory experience that complements the film’s visual aesthetic.

Turnes explained that the sound design navigates between different emotional tones—sometimes veering into the territory of horror to evoke unease and tension, while at other moments embracing more subtle, introspective melodies. This dynamic approach maintains a sense of contrast, illustrating the film’s thematic tension between innocence and darkness.

The integration of music and visuals is meticulously designed, with the score resonating with the imagery to deepen the audience’s emotional engagement. Turnes shared insights into how he crafted this hybrid soundtrack, emphasizing the importance of emotion and atmosphere over traditional genre boundaries.

The film’s visual style stands out for its sharp design and atmospheric use of color and shadow, reminiscent of classic cinematic works like “Song of Fear.” The filmmakers aimed to evoke a sense of otherworldliness, contrasting vivid imagery with haunting soundscapes to immerse viewers fully.

This blend of audio-visual elements creates a powerful sensory experience, inviting audiences to explore the mythic landscape with both curiosity and trepidation. The deliberate juxtaposition of the innocent with the unsettling underscores the film’s core themes, making “Bearcave” a memorable and thought-provoking piece.

Premiering during the esteemed Venice Film Festival, “Bearcave“ has already garnered attention for its artistic ambition and unique storytelling approach. As it continues to circulate on the festival circuit, critics and audiences alike are praising its innovative fusion of regional folklore, visual artistry, and sound design.

“Bearcave” stands out as a project that pushes creative boundaries, offering a window into Greek mythology through a modern, collective lens. With its compelling atmosphere and layered sensory world, the film promises to leave a lasting impression on viewers seeking a cinematic experience that is both haunting and deeply rooted in cultural storytelling.

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Un film che mescola arte, etica e tecnologia, “THE PØRNØGRAPHƏR” rappresenta una nuova frontiera del cinema digitale. Presentato alla Settimana Internazionale della Critica alla Mostra del Cinema di Venezia, questo cortometraggio si distingue per il suo approccio innovativo, combinando interventi algoritmici e creatività umana, e pone domande profonde sulla rappresentazione del corpo e dell’identità nell’era digitale.

Il collettivo Hariel, artefice di “THE PØRNØGRAPHƏR“, ha elaborato un processo produttivo unico, radicato in un manifesto umanista per un cinema in intelligenza artificiale. La loro filosofia si basa sull’integrazione continua tra l’intervento umano e le capacità dell’IA. “Manteniamo sempre un elemento umano durante la produzione, con l’obiettivo di sperimentare e sfidare i limiti delle immagini generate”, spiega uno dei membri del collettivo.

Il film nasce da immagini generate da modelli di intelligenza artificiale, spesso frutto di errori e sperimentazioni che hanno portato a creazioni visive allucinatorie. Da queste immagini surreali, gli autori hanno costruito una narrativa che esplora la natura dei corpi, la loro caratterizzazione e come le etichette influenzino la nostra percezione. “Il film è sulle etichette e sulla decostruzione di quelle che tentiamo di applicare ai corpi“, affermano gli autori.

“La nostra sfida principale è far esplodere la visione del mondo proposta dagli algoritmi generativi, che sono costruiti attraverso l’etichettatura di immagini e parole.” L’obiettivo è mettere in discussione le categorie predeterminate dall’IA, esplorando nuovi immaginari artistici e estetici. La loro produzione, infatti, mira a riflettere anche su come le macchine interpretano e classificano i corpi, spesso in modo distorto o limitato.

Il film si inserisce in un contesto più ampio di discussione sulla rappresentazione del corpo e sulla sessualità nell’era digitale. “Se qualcosa esiste e può essere articolato in un prompt, può essere generato dall’IA“, commentano. Questo apre a nuove possibilità estetiche, ma solleva anche questioni inquietanti riguardo al possibile utilizzo di tecnologie per generare scene di sesso o violenza prive di censura e limite.

Uno degli aspetti più interessanti di “THE PØRNØGRAPHƏR” è il suo lavoro sugli algoritmi open source. Diversamente dai modelli proprietari, questi strumenti liberi consentono di rappresentare corpi non conformi e scene più audaci, creando uno spazio di libertà artistica e di critica sociale. “Il nostro film non sarebbe stato possibile senza l’open source“, sottolineano gli autori, che vedono nel modello aperto un mezzo per una rappresentazione più inclusiva e reale della diversità.

La partecipazione di “THE PØRNØGRAPHƏR” alla Mostra di Venezia rappresenta una tappa fondamentale per il cinema in IA. I festival, secondo il collettivo Hariel, svolgono un ruolo centrale nel favorire il dialogo e la comprensione delle nuove modalità di narrazione, senza porre barriere o pregiudizi. “Vogliamo parlare con le persone, non solo con le macchine, e i festival devono essere piattaforme di confronto e sperimentazione“.

Attraverso la sua narrazione complessa, il film affronta temi universali come la ricerca del sé e la vulnerabilità umana, partendo da un contesto digitale. “Il cinema in IA è un modo per esplorare i limiti, ma anche le opportunità di rappresentare l’autenticità e la diversità,” concludono gli autori. La loro opera testimonia come l’arte possa essere un potente strumento per interrogare e ridefinire i confini della nostra realtà nella società digitale.

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Werner Herzog presented his last documentary “Ghost Elephants” in the frame of the 82 Venice International film Festival. He is also the recipient of one the Lifetime Achievement Awards that the festival gives every year. We met with him  before the world premiere of the film.

Werner Herzog met doctor Steve Boyes through a mutual friend; they met and it was immediately clear there was something very big he was after. He went to visit him in Namibia on a potential documentary they were trying to shoot; he was curious about it and all of a sudden he was filming. It’s not a wildlife film that he expected to do. It is a film about dreams, about like a quest for Moby Dick.

Werner Herzog says that’s exactly the underlying theme of “Ghost Elephants“. And at the end, when Steve Boyce actually manages to make some pictures with his cell phone  of these mythical elephants. “And I said to him, now, do you think it’s really good that you were successful?You have to live with your success. Now, from now on. Without a dream, with a success of a dream“, commented Werner Herzog.

Asked about the reception of the Lifetime achievemnet Award, Werner Herzog is baffled and still elaborating it. “Was I in a dream? Was I like a sleepwalker going through? I know I got it, it’s here,  You see it here and It was heavy. And Francis Ford Coppola spoke very kindly about my film, so I assume it was for real. But as I’m sitting here, I’m also thinking, did I only dream this?”

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SPEAKERS: 

Melanie Nepinak Hadley (Vice-President of Industry, Partnerships and Growth, Indigenous Screen Office)

Isabelle Ruiz (Program Manager – Sector Development, Indigenous Screen Office)

The Indigenous Screen Office (ISO) is an independent national advocacy and funding organization serving First Nations, Inuit and Métis creators of screen content in Canada.

The ISO’s mandate is to foster and support narrative sovereignty and cultural revitalization by increasing Indigenous storytelling on screens and promoting Indigenous values and participation across the sector.

ISO policies and activities are grounded in and informed by Indigenous knowledge(s), which means respecting Indigenous ways of knowing, seeing, doing, acting, and listening. We acknowledge, and strive to uphold the principles of respect, reciprocity, responsibility, and relevance in our working relationships.

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Nastia Korkia, director of “Short Summer”, attended Giornate degli Autori at the 82nd Venice Film Festival 2025 to present her debut feature, a poignant exploration of childhood set against the background of distant war. In this interview, Korkia shares her inspiration, the challenges of depicting war from a child’s perspective, and the importance of location in conveying the film’s themes. “Short Summer” promises a unique and powerful cinematic experience, and this interview offers valuable insight into the director’s vision.

Korkia expressed her emotion at premiering “Short Summer” at Venice, describing it as the culmination of a long-term project. She emphasized the significance of subtle integration of war into the story, mirroring her own childhood in Moscow, where the conflict felt distant but always there. “My idea was that we see it only in the background, that it’s present but not close,” she explained. This deliberate choice creates a striking contrast between innocence of childhood and the looming conflict.

Due to restrictions, “Short Summer” was shot in Serbia, presenting unique challenges. Korkia and her team conducted an extensive location scout to find sites resembling Russia. The discovery of Bor, a polluted mining town, proved serendipitous. “This is exactly where we had to go,” she recalled. Despite obstacles, Korkia sought authenticity by building a traditional wooden house to evoke Russian architecture. “For me, authenticity is a challenge I pursue,” she shared. Their dedication to a believable setting emphasizes the film’s realism and emotional resonance.

Korkia praised Maiia, the actress playing Katya, highlighting her natural talent and ability to embody inner strength. “She’s a born actress… very focused, willing to do whatever’s needed,” Korkia said. Despite working with children and shooting on 16mm film, she found Maiia to be the easiest part of production. The visual symbolism, like the reflection in glass, deepens Katya’s character and her journey. Her resilience spreads a powerful message, illustrating the strength of children in harsh environments.

Moreover, Nastia Korkia explored how the visual language—specifically the use of color and light—enhances the narrative. She described contrasting idyllic landscapes with harsh realities, creating a feeling of tension and unease. This dichotomy underscores childhood vulnerability against external threats. “On one side, this beautiful, dreamlike sky, and on the other, the threatening reality,” she summarized.

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During the 82nd edition of Venice International Film Festival we spoke with Tamara Kotevska, director of the film “The Tale of Silyan”, and with cinematographer Jean Dakar. The film is presented at the festival out of competition and it is a moving story that intertwines the life of a local Macedonian farmer with both the rural traditions and the economic crisis of this Country, but also with the folklore stories like “Silian Štrkot” that are deeply rooted in the history of Macedonia. All of this comes to life through an unusual friendship between a white stork, wounded and unable to fly, and the farmer himself, in an interesting metaphor that also explores the themes of emigration and nature protection.

During our interview with FRED Film Radio, our guests Tamara Kotevska and Jean Dakar focused on the balance between the documentary narrative and the magical realism elements present in the film, but also on the importance of music and sound design that are crucial here. Arising global questions that come from local Macedonian problems, such as pollution and the rediscovery of a simpler, fuller, rural life.

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Global Critics Venice Voice, hosted by internationally renowned film critic Rita Di Santo, is the daily podcast of the 82nd Venice International Film Festival, produced by FRED Film Radio directly from the Lido di Venezia.

Each episode takes listeners inside the Festival with exclusive and thoughtful conversations with leading international film critics, and in-depth analysis of the year’s most anticipated films.

Rita Di Santo and her guests bring to life the unique atmosphere of Venice, offering a rare insider’s view of the stories, talent, and cinematic moments that make the Mostra one of the world’s most celebrated cultural events.

In this episode of Global Critics Venice Voice Rita Di Santo hosts:

Gudula Moritz (ZDF Arts & Culture / Kulturzeit 3sat, Germany) and Mona Sheded (deputy editor at Al-Ahram and Middle East correspondent, Screen Daily, Egypt).

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