FRED Film Radio - English Channel

The MASO – Short Film Training Programme just presented its first Pitching Event and the Launch of the second edition of the programme, MASO #2, at the FILMCLUB Capitol in Bolzano, Italy, during the Bolzano Film Festival Bozen 2025. 

The MASO programme, launched in april 2024 by IDM Film Commission Südtirol, Bolzano Film Festival Bozen, and with the support of the Cultural Departments of the Autonomous Province of Bolzano and several other local and international partners, is dedicated to nurturing the next generation of filmmakers through training, mentorship, and financial support. 

With a focus on diversity and inclusivity, MASO aims to empower filmmakers and promote stories from underrepresented communities and peripheral regions, helping them bring their unique voices to the screen. 

Renate Ranzi, Project coordinator of MASO and Coordinator film Location at the IDM Film Fund & Commission tells us about the experience with the first edition, MASO #1 which selected 8 projects out of 132 applications received from 45 countries worldwide. 

Ranzi then launches the MASO #2 Call for Entries. 

This second edition of the programme will offer ongoing support to emerging filmmakers, emphasizing cross-border collaborations and fostering industry recognition at prestigious festivals.  

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Almost an year has passed since David Cronenberg premiered “The Shrouds” in the Cannes Film Festival’s competition. 

The film is finally coming out in Italian Movie theaters, distributed by Europictures, on April 3rd, 2025. 

The visionary director, inventor of the body horror genre, couldn’t make it to Italy to present the film but joined us in a deep conversation about the themes of his film. 

The film, starring Vincent Cassel in the role of Karsh and Diane Kruger continues Cronenberg’s exploration of the boundaries between technology, body, and mind, merging influences from his most extreme early cinema with a mature and conscious reflection on pain and memory, inspired by an autobiographical event. 

In his director’s notes, Cronenberg writes: “ I wrote this film while coping with the pain of losing my wife, who passed away seven years ago. For me, it was an exploration—not just a technical exercise, but also an emotional one. In a way, the Shrouds my protagonist invented are cinematic devices. They create their own cinema: a post-mortem cinema, a cinema of decay. Before writing the screenplay, I was aware that the shrouds had a cinematic quality, creating a kind of strange ‘cinema of the grave,’ a ‘cemetery cinema.’ In The Shrouds, it is suggested that Karsh realizes that his creation involves a form of cinematic technology—something rich and complex”. 

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After world premiering at the last Toronto Film Festival in September 2024 and many festival participations, such as the 20th Zurich Film Festival, third feature film by Gia Coppola, “The Last Showgirl” lands in Italian movie theaters 

On April 3rd, thanks to Be Water Film and Medusa, the film will be released. 

With Dave Bautista, Billie Lourd and always astonishing Jamie Lee Curtis as supporting actors, “The Last Showgirl” marks Pamela Anderson’s flashy and moving comeback to the big screen.

The actress who owes her popularity to the 90’s internationally guilty pleasure TV series “Baywatch“, is finally showing her acting multifaceted talent by playing Shelly, a glamorous showgirl who must plan for her future when her show abruptly closes after a 30-year run. 

During her attendance at the 20th Zurich Film Festival, with Gia Coppola by her side, Anderson declared: “This film didn’t feel like a second chance for me, it feels like the beginning of my career”. 

Besides Shelly (Pamela Anderson) there’s another protagonist in The Last Showgirl: Las Vegas. 

Coppola leaves out of the picture Vegas’ flashing lights to introduce us to a different world, the one behind the scenes made of entertainment business’ working class that Shelly represents and no one talks about. 

The post “The last showgirl”, interview with director Gia Coppola and actress Pamela Anderson appeared first on Fred Film Radio.

“William Tell” by Nick Hamm with Danish Actor Claes Bang in the role of the man/myth/legend and archer is coming out in Italian movie theaters on April 3rd, distributed by Eagle Pictures.

After premiering at the Toronto International Film Festival, the film was presented at the 20th Zurich Film Festival where we met director Nick Hamm along with actors Claes Bang, Jonah Hauer-King and Ellie Bamber. 

As Hamm clarifies, nobody knows if William Tell ever lived but the legend and the story about his shooting the famous apple on the top of his son’s head survived all over the centuries. 

When asked why, Nick Hamm answers promptly: “The “legend” of William Tell survived because with it, you’re debating the notion of liberty and what it means, how you achieve it and maintain it”. 

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During the 39th edition of BFI Flare, Fred Film Radio sat down with director August B Hanssen to discuss his documentary feature, “Fatherhood“, made alongside Even G Benestad.

He shared how gay throuple, Kris, Sindre and David, approached them to share their complex journey to becoming parents, and despite some initial hesitation, an increasingly toxic environment in Norway and beyond for the trans community gave Hanssen and Benestad the impetus to take on the project.

Hanssen explained his desire to tell a personal, intimate, human story, to foster empathy and compassion, as well as shed light on the harsh rules whose impacts are still being felt, such as trans people having to face sterilisation as recently as 2016.

Although it shares a very specific story about this non-conventional family, it also touches on many universal elements of becoming a parent and navigating relationships, bridging the gap between audience and subject.

The filmmaker also reflected on the importance of the BFI Flare as a platform for a diverse range of LGBTQIA+ films, and his excitement for showing his documentary to a London audience.

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At the 16th Bari International Film & Tv Festival, FRED Film Radio interviewed the director Tom Nesher to talk about “Come Closer”, a film presented at the Meridiana section.

“Come Closer” deals with many different themes, one of these is the transition between adolescence and adulthood. A transition that implies, in a certain way, a loss. “Being a teenager is such an interesting time because you remember from those times only the most highlighted events”, says Tom Nesher. “You’re so emotional in that time and you’re saying goodbye to a lot of parts of yourself and parts of your life and you’re becoming an adult. And this thing is something that you can see throughout the film. The main character is losing her brother, she is losing her family in some way but then she’s finding her own independent way and her way to become a more mature person which could be sad but could also be a beautiful thing that happens in nature that you find your place as an adult”.

At the heart of “Come Closer” is the love story between the two protagonists that arises after a loss that affects both of them. How was the film received by the Israeli audience? “It was so beautiful. The movie was hugged by the Israeli public in such a powerful way”, explain the director. “I tell this story that comes from a very personal place of my own life and I feel like my generation could have less boundaries and you don’t need to be identified as lesbian or as anything else to be able to fall in love with a person who happens to be a woman or to have this meaningful relationship with someone because they also lost someone that you both love and you mourn together over that person. So it’s really beautiful to see the way that the generations changed”.

In ‘Come Closer’, the director shows a montage on the phones of the two protagonists that tells about the society in which the girls live. But everything remains in the background. “In this montage you see a protest and children that go to the school trip to Auschwitz. These are two very dramatic things in Israeli society. But still the film is not about that. Those events are just in the background of this love story”, says Tom Nesher. “You see them texting, laughing, falling in love and that is the main thing of that scene. I chose to write it because I wanted to see how even the most dramatic backdrop for a teenager, it’s just a backdrop. You’re so invested in your personal story, in your loss, in your love”.

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In our captivating dialogue with MOWG, a distinguished composer and musician from South Korea, we delved into the intricate art of film scoring during the 23rd Korea Film Fest in Florence. MOWG expressed his enthusiasm for being in Italy, highlighting how the vibrant culture and exquisite cuisine fuel his artistic inspiration. As we explored his creative process, he provided insights into his collaboration with the acclaimed director Hwang Dong-hyuk on the powerful film “Silenced,” which addresses the deeply unsettling themes of child abuse. He found the narrative shocking, leading him to ingeniously blend a childlike atmosphere with haunting musical elements designed to evoke profound feelings of sadness and emotional depth in the audience.

As we continued our discussion about his work on “Masquerade” MOWG elaborated on how historical contexts greatly influence his compositions. He draws from Korea’s rich musical heritage to craft scores that resonate with the film’s aesthetic, intertwining traditional melodies and instruments with compelling cinematic narratives. His experience working across diverse genres is reminiscent of meeting individuals from different worlds, allowing him to embrace a variety of influences that enrich and diversify his compositions.

MOWG also offered valuable insights into his approach to stylistic diversity, explaining how each director’s unique vision encourages him to innovate relentlessly. This dynamic creative process is particularly evident in his work for “I Saw the Devil,” where he artfully fused classical instruments with elements of Bossa Nova to construct an eerie yet captivating atmosphere. He revels in these challenges, showcasing his remarkable adaptability and unwavering commitment to creating distinctive soundscapes.

A surprising twist in our conversation unveiled MOWG‘s childhood fascination with classic European films, particularly the works of the celebrated director Michelangelo Antonioni. He reminisced about how his exposure to a myriad of cinematic styles has profoundly shaped his understanding of music as a visual language, emphasizing that he can connect with the emotional essence of a film without needing subtitles.

Recently, MOWG has been channeling his excitement into new projects, including an upcoming film directed by the renowned Park Hoon-jung, where he will step into the role of a serious killer. This marks a stark departure from his musical roles and adds an intriguing new chapter to his multifaceted career.

Reflecting on his experiences at the Korea Film Festival in Florence, MOWG mentioned his recent masterclass and how discussions surrounding Dante have ignited new musical curiosities within him. He expressed heartfelt gratitude for the cross-cultural influences that continually inspire his work, drawing inspiration from iconic figures such as Miles Davis and Ennio Morricone.

As he prepares for an exhilarating concert with the Florence Pops Orchestra, MOWG shared his enthusiasm for collaborating with an ensemble that breathes new life into his works. This partnership promises to create an unforgettable experience, both for the audience and for him as a composer.

In essence, MOWG’s journey through the realms of music and film embodies a thrilling exploration of sound and storytelling, showcasing his dedication to pushing artistic boundaries while engaging with a rich tapestry of cultural influences.

The post “Masquerade”, Interview with Composer and Musician MOWG appeared first on Fred Film Radio.

At the 16th Bari International Film & Tv Festival, FRED Film Radio interviewed the director Karim Moussaoui to talk about “The Vanishing”, a film presented at the Meridiana section.

“The Vanishing” is based on the book by Samir Toumi. There are some differences between the film and the novel, but there is also a common narrative core that the director wanted to explore. “The relationship between generation and the generation gap is something that interested me a lot because the heritage of our parents sometimes make our daily life really hard”, says the director. “I was interested in the book because of a question: ‘How to escape from that and how to be once again free from any influence of the past?”.

There is an ambiguity in the characters. What did that allow the director to explore in a narrative way? “There was really a long discussion between my producer and my editor about what kind of person Reda is. We all have complexity, we are not always nice, we are hiding some frustrations, we are hiding a bit of violence. And, for example, were not expecting how much violence Reda was keeping in himself”, explains Karim Moussaoui. “With the film I’m trying to show how we are creating monsters in our society because of the pressure and all those things that society is expecting from us”.

How does the director describe contemporary Algerian cinema? “There is a new wave of directors and new movies, but it’s still a bit complicated for directors to make their movies, It’s hard to find money, there isn’t a cinema school and just one funding. We need to make our films in co-productions”, says Karim Moussaoui.

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At the 16th Bari International Film & Tv Festival, FRED Film Radio interviewed the director Ibër Deari to talk about “Everybody Calls Redjo”, a film presented at the Meridiana section.

“Everybody Calls Redjo” is a story of immigration. The protagonist decides to stay in his country while everyone around him decides to leave. “I thought that this type of immigration only happened in my country, North Macedonia and the Balkan countries, but I see that it is very universal and is happening everywhere in the world”, says Ibër Deari. “I wrote the script with Artin Selmani five years ago and from there I started to feel that all my friends were leaving my country. That was the beginning”.

As a young man and a director, how does the director relate to the protagonist of  “Everyone Calls Redjo”? “I related so much to the character of Redjo because I know him in real life”, explains Ibër Deari. “I asked him: ‘Are you going to leave the country?’ He replied: ‘No, I don’t need anything else. For me, it’s enough to work and be here with my family.’ And that’s why I was so fascinated by this man”.

“Everyone Calls Redjo” addresses the topic of immigration with a comic tone. “With comedy, you can easily tell the truth. Like Charlie Chaplin’s films or Roberto Benigni’s Life is Beautiful. I tried to do the same with my film”, says Ibër Deari.

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At the 16th Bari International Film & Tv Festival, FRED Film Radio interviewed the director Jaylan Auf to talk about “The inevitable journey to find a wedding dress”, a film presented at the Meridiana section.

At the heart of “The inevitable journey to find a wedding dress” is the frantic search for a wedding dress by two young girls. A dress with a strong symbolic value whose meaning can change for a person throughout their life. “Whether it’s in Egypt or elsewhere, wedding dresses have a universal meaning, more or less. For me, it’s evolved from something that’s more of a fairytale understanding of the concept to something more abstract, something like a very simple dream that someone might pursue”, says Jaylan Auf. “And that’s actually the concept behind the film. It’s what the two characters are looking for and even within the film itself the concept of the dress evolves from one point to another”.

Did Jaylan Auf‘s background as a documentary filmmaker influence the making of the film? “Definitely”, says the director. “This film is a completely fictional story, however, it combines different genres together. Initially we talk about the concept of a wedding dress as a fairy tale, however with a very real approach. The approach to the camera itself is documentary-like. It is always very close to the subjects”.

In one sequence of “The inevitable journey to find a wedding dress” the protagonist states that wearing a wedding dress is her right. A sentence that contains a very deep and nuanced meaning. “It is a scene in the film where the fiancé asks her if she really wants this dress. With her head she says no, but with her eyes she says: ‘It is my right’. The scene, first of all, shows that there is love between both of those characters, even if they are very different. And it shows the importance of the journey itself”, explains Jaylan Auf. “Because the journey is not about whether or not she gets the dress or whether or not she wants this particular dress. It’s about the fact that she has the right to dream about something, even if it’s very big or very small. She has the right to dream and to get what she wants. She’s worked very hard in her life and she feels like she wants a win, not necessarily the dress, but a win”.

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