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Sharunas Bartas, the visionary director behind “Laguna“, engaged in a compelling conversation with Fred Film Radio during the 82nd Venice Film Festival. Presented as a Giornate degli Autori Evento Speciale, “Laguna” is a poignant exploration of memory, grief, and the enduring power of personal stories. Bartas’s willingness to intertwine his own experiences with the narrative creates a film that resonates with raw emotion and genuine authenticity.

For Sharunas Bartas, honesty is the foundation of filmmaking. He believes that a filmmaker must be entirely open, without self-protection, to truly connect with the audience. This approach is deeply embedded in “Laguna“, where Bartas boldly exposes his vulnerabilities, allowing his personal experiences to shape the story. He avoids relying on past successes, instead treating each project as a new beginning. This mindset brings fresh perspectives and authentic emotion to his work, steering clear of imitation and striving for genuine expression. As Bartas states, “You must be open, absolutely open, without any protection.”

One of “Laguna’s“ most compelling aspects is its deep connection to nature, particularly the Mexican Pacific Coast. This location holds personal significance, as it was where Inna Maria, Bartas’s late wife and a talented actress, first visited during a student film project. Bartas vividly recalls their shared journey to a small lagoon during travels—an experience that initially inspired a film about the local people. Tragically, Inna Maria was killed in a car accident, forever altering the film’s direction and transforming it into a deeply personal meditation on grief and remembrance.

Bartas does not view “Laguna“ as a cure; he emphasizes that some wounds can never fully mend. Instead, he considers the film a necessary act of sharing Inna Maria’s story and highlighting the profound impact of her loss—especially on his daughter. In his words, “You never can heal it.” For Bartas, filmmaking is a way to respond to overwhelming emotions that demand release. It’s about expressing the “fire” within, regardless of the subject. This raw, unfiltered emotion permeates every frame of “Laguna“, creating a powerful and unforgettable cinematic experience. The film is a testament not to closure, but to enduring love and remembrance.

Initially drawn to writing, Bartas discovered that images, sound, and music offer a more profound means of expressing his inner world. He makes films when an overwhelming need to communicate arises, driven by genuine emotion yearning to be shared. This intrinsic motivation gives “Laguna“ its resonant and lasting impact. The images evoke memories and emotions, creating a sensory experience that transcends traditional narrative boundaries. This approach makes “Laguna“ a unique and profoundly moving work of art.

The setting of the Mexican Pacific Coast is more than a backdrop—it’s a character in its own right. The sprawling landscape mirrors the vastness of grief, while the beauty of the lagoon symbolizes life’s enduring beauty and memory. Bartas masterfully uses the environment to heighten the story’s emotional weight, crafting a visual and emotional tapestry that resonates deeply with viewers.

For more in-depth insights into Sharunas Bartas and his notable contributions to cinema, consider exploring resources like Fred Film Radio and other major film festival platforms. These sources often feature exclusive interviews, behind-the-scenes perspectives, and critical analyses that deepen understanding of Bartas’s artistic vision and the profound influence of his films.

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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:

Marcelo Janot (Carta Capital and Criticos.com.br), Géza Csákvári (Népszava, Népszabadság) and Alexander Gabelia (CinExpress).

– – –

Listen to all episodes of Global Global Critics Venice Voice here!

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At 82th Venice Film Festival FRED Film Radio interviewed director Tereza Nvotová to talk about “Father”, screening in competition in Orizzonti section.

While watching “Father”, you may often feel a strong empathy for the protagonists, especially the father, who must deal with the guilt of his daughter’s death. But at the same time, many other people close to the couple, or the press, are quick to judge the man for his forgetfulness. “I think the judgment and blame is very natural for people because if they don’t blame and judge, which is terrible, they would have to admit that they are also capable of such tragic mistakes”, explain Tereza Nvotová. “I think by nature we don’t want to feel that we can do wrong. We want to feel like we are good people and we do everything right, so we don’t want to even for a little bit accept the possibility that even I can do terrible things, not the way that I want to do it, but by accident as it happened to this man. They just see the headline and they go and think he’s a murderer. This is also why I made this movie. I wanted to show people the inner perspective, the subjective”.

“Father” is inspired by a true story that happened to a friend of co-screenwriter Dusan Budzak. The film chooses to tell it from a different perspective, focusing not on the tragedy itself, but on the moments when the characters lose control and must deal with the consequences of an impossible loss, transforming a true story into a cinematic narrative. “I didn’t think I could even make this movie, I felt it was too tragic. I didn’t know how to do it or how somebody would watch it for an hour and a half”, says Tereza Nvotová. “But then, when I met Dusan, he told me this story from this different perspective and that was really the turn for me because I saw the story in a different way and I had to accept that I could be in his position, which was hard for me. It took some time, but then I found a way to make it from this subjective perspective by these long shots. For me the story and the form of the film are not divided. And that’s why I decided to make the movie in these very long takes where the time really goes in a different way that immediately connects you with the character”.

How did the director guide Milan Ondrík and Dominika Moravkova on this emotional journey, which also required great technical concentration given that the film was shot in long takes? “I knew that I needed the most truthful actors that are also deep as people, because it’s not only acting and the ability to create this emotion in you. You have to be able to have that. I knew that these two actors had to be in the movie and luckily they wanted to do it and then we were meeting a lot before we even started shooting”, explains Tereza Nvotová. “We had this sort of like a safe circle where only three of us were sitting and reading the script and talking and sharing our own stories and this was the most important process to kind of nail down the little moments so on the set we already knew what was happening inside and the set direction was more technical”.

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We met with Pascal Diot, director of the Venice Production Bridge, in the eve of the opening of this year’s event. The Venice Protection Bridge stands as a significant initiative that bridges ecosystems of film production, fostering global cooperation and innovative storytelling. At its core, this program aims to support filmmakers, publishers, and industry professionals by providing a platform for networking, financing, and developing cutting-edge content, particularly in genres like fantasy, horror, and romance.

The Venice festival not only celebrates filmmaking but also serves as a crucial marketplace for production and distribution. The Venice Protection Bridge integrates this broader ecosystem, facilitating the presentation of works in progress and completed projects to international audiences and investors. The initiative emphasizes supporting projects with strong potential for adaptation across various media, including films and TV series, and aims to promote cultural exchange through international collaborations.

An exciting aspect of the Venice Protection Bridge is its focus on immersive experiences. The program has dedicated efforts towards developing the immersive content industry, with initiatives targeting countries like Morocco and Chile. These regions have been selected to foster new collaborations and create immersive concerts and city-based experiences. The Bridge operates as a vital networking hub, connecting industry professionals from various parts of the world.  Recognizing the challenges faced by countries with fewer resources, the initiative emphasizes international cooperation, notably with Europe, which has a long history of openness and support for cross-border collaborations. This approach ensures a steady flow of high-quality projects into Venice’s ecosystem, contributing to a vibrant, diverse cinematic landscape.

The Venice Protection Bridge is also attentive to cultural diversity, selecting films that reflect different perspectives and stories. By focusing on projects from underserved regions and fostering their development, the program aims to enrich global cinema with new voices and innovative ideas. This focus underlines Venice’s commitment to promoting both artistic excellence and cultural variety in a rapidly evolving industry. The Venice Protection Bridge demonstrates a clear commitment to nurturing creativity, fostering collaboration, and supporting innovative storytelling—ensuring Venice remains at the forefront of global film and immersive content markets.

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Director Vladlena Sandu and producer Yanna Buryak discussed their film, “Memory“, with us at the 82nd Venice Film Festival. The film, which competed in the Giornate Degli Autori section, explores the cycle of violence and its effects on children across generations.

Breaking the Cycle of Violence

Sandu also discusses modern Russian conflict with the Chechen Republic. She criticizes Russia’s portrayal of the Chechen war as a “Special Military Operation Against Terrorists,” emphasizing her firsthand witness to these events. She feels compelled to speak out about the realities of war and its devastating impact on children.

Filming in Censorship-Restricted Environments

Symbolism of King Kong: Colonialism and Cinema as Compassion

Art as Therapy and a Path to Healing

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Director Gerard Johnson and actress Polly Maberly share insights about their new film, “Odyssey“, during an exclusive interview at the 78th Edinburgh International Film Festival. They discuss the film’s gritty realism, morally complex characters, and its unexpected evolution into a brutal, ultraviolent thriller. As one critic describes it, “Odyssey is a punishing, ultraviolent slow-burn thriller set in a grimy real estate world“.

Johnson opens up about his fascination with estate agents, viewing them as a subculture similar to the corrupt police officers featured in his previous films. He aimed to explore this world and examine what happens when a character like Natasha lives beyond her means and becomes entangled with dangerous people. “Odyssey” takes audiences on a surprising journey, transforming into something far removed from its initial premise. Critics note that while Johnson’s work often explores the thin line between good and evil, “Odyssey” is his first dedicated character study of a female protagonist.

Maberly describes the film’s physically demanding climax, especially the fight choreography and wrestling scenes, which she loved performing. Despite the exhaustion, she found the experience exhilarating. Led by stunt coordinator Dan Stiles, the action sequences were carefully prepared in advance, making the shoot both exciting and smooth. Her performance is central to the film’s impact; as one review states, “Maberly is the glue that binds together what could have been two very different scripts cut in half.” She masterfully balances outward confidence with a frantic sense of desperation, adding depth to her character.

Johnson emphasizes how vital the workshop phase was in preparing the actors. These sessions, conducted without producers or external influences, helped build backstory and fostered a cohesive team. By the time they filmed, the cast was relaxed and fully immersed in their characters, leading to a more fluid and enjoyable shoot. Remarkably, “Odyssey” was completed in just 24 days, exemplifying efficient filmmaking and strong directorial vision.

The film also offers a pointed critique of London’s urban transformation. Johnson discusses the obsession with city expansion—highlighting the closure of historic pubs like Smith’s Tavern, London’s oldest restaurant, due to rising rents, contrasted with the construction of new office buildings. This contrast aims to capture the essence of London’s vanishing cultural institutions. As one review notes, “If the changing face of London was the backdrop for Tony, it’s front and center in “Odyssey“ which is, at its core, a dispatch from occupied territory.” Gentrification, capitalism, and morality are central themes throughout the film.

Maberly describes her character Natasha as ruthlessly driven to succeed in a testosterone-fueled workplace. She found playing this assertive, ruthless role freeing, especially since she tends to be more apologetic in real life. The film offers a brutal critique of the housing crisis and capitalism, contrasting Natasha’s gritty, seedy environment with the idealized ‘golden age’ of yuppie prosperity. The narrative shifts into dark horror territory, with London’s underworld as neon-lit and grimy as it is dangerous. One review states, “Odyssey delves into surprising directions in its final act, almost becoming an entirely different film.”  The ultraviolent climax acts as a release of tension, leaving the story open-ended and unresolved.

When asked about influences, Johnson mentions “The Kingdom” and references European films like “The Driver’s Seat” (with Elizabeth Taylor) and “Full Circle“ (with Mia Farrow). Maberly admires French actress Laura Calame, citing films such as “Origin of Evil“ and “Full Time.” Both express a strong admiration for European cinema, with “Nostalgia“ being a recent favorite.

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In an exclusive interview at the 78th Edinburgh International Film Festival 2025, director Ondine Vinao, stars Ralph Ineson and Jake Simmance, and producer Ivy Freeman-Attwood discuss the creative process behind “Two Neighbors“. This dark comedy, inspired by Aesop’s fables, is premiering in competition at Edinburgh and marks Vinao’s European debut. Critics are praising it as a “heady cocktail,” blending elements of “Saltburn“, “The Substance“, and Ruben Östlund’s satirical style.

Vinao elaborates on the film’s exploration of contemporary womanhood, contrasting the characters of Becky (Anya Chalotra), an aspiring writer, and Stacy (Chloe Cherry), a spoiled socialite launching a body-positive underwear line. She underscores the ironic use of the Italian song “Mala Femina“ in a key scene, explaining it’s not a direct judgment of Becky but a commentary on societal expectations placed on women. Critics note Vinao’s impressive technical command of the medium, which enhances the film’s sharp storytelling.

Production designer Lili Lea Abraham creates striking visual distinctions for the characters’ worlds. Stacy’s character embodies luxury, wandering her vast family estate, while Becky inhabits a cramped, dingy flat under the Brooklyn Bridge. This visual duality underscores the social and personal contrasts driving the narrative.

Jake Simmance offers fascinating insights into his portrayal of Stacy’s troubled brother, Sebastian. He reveals that Sebastian was inspired by a real-life online personality, emphasizing the character’s connection to contemporary digital culture. Simmance also shares how Ondine Vinao allowed him to craft a playlist that helped channel Sebastian’s volatile emotions, highlighting the importance of music in shaping his performance.

Ralph Ineson, who plays the enigmatic Genie, reflects on his preference for working with female directors, praising the respectful, collaborative environment they foster. He compares this experience to his work on larger Hollywood productions like “Fantastic Four“, emphasizing that his role remains the same: to bring the character to life, regardless of the film’s budget or scope.

The film’s climactic party at Stacy’s father’s estate becomes a dramatic battleground. The story’s divided into six chapters, and the camera work captures the cavernous, oppressive atmosphere of the country mansion, enhancing the film’s tense, suspenseful mood.

Producer Ivy Freeman-Attwood discusses the hurdles and victories of producing a low-budget independent film. She highlights the importance of creative freedom to realize the film’s unique vision. Both she and Ineson emphasize how initial enthusiasm, naive optimism, and determination allowed them to overcome obstacles and preserve artistic integrity throughout production.

“Two Neighbors” promises to be a provocative, visually stunning film offering a fresh, timely perspective on modern relationships, societal pressures, and the complexities of human connection. With its bold storytelling and rich visual style, the film aims to challenge and engage audiences, sparking meaningful conversations about the world we live in today.

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Get ready to explore the provocative world of “Blue Film“, a project already igniting debate as one of the most ethically challenging films of 2025. In this exclusive interview, director Elliot Tuttle and actors Kieron Moore and Reed Birney discuss the film’s complex themes and share insights into their creative process at the 78th Edinburgh International Film Festival.

Tuttle reveals that “Blue Film” was inspired by his personal reflections on adolescent sexuality and a desire to explore the often unspoken realities of human intimacy. He explains his intention to create a narrative that challenges societal norms and forces viewers to confront uncomfortable truths. “It was about taking something that felt taboo and bringing it into the light”, Tuttle states. “To examine it, not necessarily to condone it, but to understand its roots.”

Kieron Moore and Reed Birney play pivotal roles in translating Tuttle’s vision to the screen. Moore emphasizes the importance of chemistry and trust between the actors when approaching such sensitive subject matter. He highlights their commitment to honesty and vulnerability: “We knew we had to create a space where we could be fearless—to explore the darker corners of human desire without judgment.” Birney adds that he was immediately drawn to the script’s complexity and the opportunity to portray a character grappling with profound internal conflict.

“Blue Film” confronts viewers with difficult questions about morality, desire, and the boundaries of human relationships. The cast approaches these themes with nuance and sensitivity, emphasizing that the film aims to stimulate critical thought and dialogue. Moore states, “We don’t want to give easy answers; we want to make people question their own beliefs.” Birney echoes this, explaining that the film’s goal is not to normalize harmful behavior but to shed light on the inner struggles of individuals dealing with forbidden desires. “It’s about understanding the human condition, even in its darkest manifestations,” he says.

Throughout the interview, Tuttle, Moore, and Birney express their hope that audiences will approach “Blue Film” with an open mind and a willingness to engage with its challenging themes. Despite the controversy it may provoke, they believe the film has the power to spark meaningful conversations and challenge societal norms. They are proud of their work and eager to see how viewers respond.

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In the bustling atmosphere of the 78th Edinburgh International Film Festival, we had the privilege of engaging with director Helen Walsh, shaping the landscape of modern storytelling through her compelling film, “On the Sea“. Her insights illuminate how contemporary cinema acts as a mirror to societal issues, personal introspection, and the ongoing quest for authenticity.

Helen Walsh’s “On the Sea“ centers on the profound exploration of masculinity, desire, and identity against the rugged Welsh coast. Walsh reveals that her inspiration stemmed from the real-life experience of a man who came out late in life, facing rejection and societal pressures. Her film serves as a poignant reminder of the personal sacrifices made by those challenging norms, emphasizing themes of love, loss, and acceptance.

Helen Walsh’s approach to storytelling emphasizes the universal nature of these struggles. She explains, “The film delves into how individuals grapple with their desires and the masks they wear to fit into society. It’s about the quest for authenticity in a world full of illusions.” Walsh’s “On the Sea“ explores these themes through the lens of personal narratives that reflect wider societal issues like displacement, longing, and the desire for acceptance.

Helen Walsh’s “On the Sea“ highlights how storytelling can reveal collective experiences. Helen Walsh states, “Every character in my film is a mirror of someone’s personal journey. Through these stories, we can understand broader societal challenges.” She emphasizes that her characters embody wider human truths, fostering empathy and connection.

The film shows how personal stories—whether about coming out, seeking love, or fighting for identity—serve as microcosms of societal struggles. As Helen Walsh notes, “Cinema should be an honest space for conversation, a way to break down barriers and promote understanding.”

Helen Walsh, also a novelist, carefully selected locations that brought authenticity to her film, citing the Muscle Birds as the ideal environment to capture silence and stillness—elements that heighten emotional depth. She shared that her stories originate from a “kernel of truth,” deeply rooted in place and environment, allowing viewers to feel immersed in genuine experiences.

She emphasizes that her goal is for viewers to connect emotionally and see themselves in these stories. “Cinema should serve as a catalyst for honest dialogue and reflection,” she affirms.

“On the Sea“ has earned acclaim at festivals such as Edinburgh and the Brown International Film Festival, praised for its artistic integrity and powerful message Helen Walsh remarks, “Participating in festivals allows the film to reach diverse audiences. It’s rewarding to see how these stories resonate across different cultures and backgrounds.” This recognition underscores the universal relevance of its themes of desire, identity, and the human condition.

Looking ahead, Helen Walsh expresses her desire to continue challenging societal norms through her work. “Cinema can be a catalyst for reflection and change. I want to tell stories that inspire dialogue, foster empathy, and promote understanding,” she says.

“On the Sea“ exemplifies how contemporary cinema explores deep questions of identity and desire within personal and societal contexts. As the film continues to captivate audiences worldwide, its message underscores the enduring power of storytelling to foster empathy and understanding.

Stay tuned to Fred.fm for more insights into modern filmmaking and festival highlights.

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In this in-depth interview at 78th edition of Edinburgh International Film Festival, director Julie Pacino shares insights into her innovative approach to psychological horror and visionary filmmaking. The conversation spans her latest projects— in particular, “I Live Here Now,” acclaimed for its bold visual style and profound themes. Pacino reveals the personal stories, artistic choices, and symbolic layers behind her powerful works—inviting viewers to confront their subconscious and embrace self-discovery.

Julie Pacino discusses her latest film, which explores the complex landscape of psychological horror. Her goal is to go beyond traditional scares, creating a visceral experience that immerses the audience in the characters’ internal worlds. She describes her creative process as a trip into the subconscious: “My aim is to craft a film that’s not just about fear—it’s about exploring identity, mind, and perception.”

She emphasizes her deliberate use of color and imagery to evoke emotional and symbolic responses: “Colors and visuals are carefully chosen to evoke psychological traces and symbolic moments, making viewers feel like they are inhabiting the characters’ minds.” The film delves into themes of fluid identity and the ambiguity of reality, asking the audience: “What is real, and what is illusion?”

Pacino highlights her commitment to trusting her artistic voice: “This project is about exploring self-discovery, freedom, and authentic expression—trusting my instincts to tell a truth that resonates deeply.”

In a separate yet equally compelling project, Pacino collaborated with actress Cara Seymour on “I Live Here Now,” a film praised for its visionary style and fearless unpacking of complex subjects. What started as a pandemic-era short film evolved into a profound narrative addressing emotional entrapment and buried truths. Pacino shares that personal experiences and the desire to reconcile internal conflicts fueled this transformation.

Cara Seymour recalls her initial excitement upon reading the script: “I was immediately drawn to Julia’s visionary approach—a bold fusion of feminist cinema and horror that dares to venture into uncharted territory.” She describes the set as “free and energized,” fostering spontaneity and unfiltered creativity.

The film’s setting in Los Angeles was chosen intentionally, mirroring Rose’s initial pursuit of external validation. Pacino explains the layered symbolism within key elements like “The Crown”—which carry personal and narrative significance. She also credits producer Robert McReedy’s inspired idea to cast Sheryl Lee, adding profound depth to the exploration of trauma and identity.

“I Live Here Now” masterfully blends dreamlike sequences with stark realities, creating a disorienting yet captivating experience. Pacino’s background as a photographer informs her use of framing and color to evoke emotion and symbolism, inspired by influences such as Terry Gilliam, David Lynch, and Dario Argento.

The response from audiences has been powerful, resonating deeply with themes of female trauma, identity, and the permeability between dreams and reality. Pacino emphasizes: “This film is a call to confront inner truths and reclaim autonomy. It’s about mapping surreal psychological landscapes and encouraging self-reflection.”

Julie Pacino’s work transcends mere genre boundaries—her films are provocative explorations of consciousness and human emotion. Her fearless visual style, emotional authenticity, and layered symbolism invite viewers to confront their deepest truths. “I Live Here Now” is more than a film; it’s a transformative journey through surreal psychological landscapes. It challenges audiences to face uncomfortable realities and emerge with a newfound sense of self-awareness.

Her daring vision and powerhouse performances make her films essential viewing for those seeking thought-provoking, visually stunning cinematic experiences that leave a lasting impression. Julia Pacino’s latest film exemplifies how contemporary psychological horror can transcend mere scares to become a profound exploration of human consciousness. Through bold visuals and emotional authenticity, she pushes the boundaries of cinematic storytelling, inviting audiences into a surreal journey of self-discovery.

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