FRED Film Radio - English Channel

“Sandbag Dam” is a Croatian drama by Čejen Černić Čanak included in the Generation 14plus section of the Berlinale 2025. The film is a rare example of lgbtqi+ film coming out of Croatia and it starred two young and promising actors who embodies the two longtime lost young friends and hidden lovers who meet again, in a village that is always under the risk of flooding.

Čejen Černić Čanak points out that the setting fo the film in a village always on a verge of being flooded is a direct reminder of the situation the character of marco (played by Lav Movosel) is experiencing: being attracted to his friend Slaven (played by Andrija Žunac) and not being able to tell it out loud. Always at risk, himself too.

Lav Movosel, playing Marco in “Sandbag Dam“, tells us about his character that is torn, between his role in the village, his public persona, and the way he feels inside towards his friend, openly gay and therefore sent away by his family. Andrija Žunac has a take on his character: he is stronger and more grounded because he is out. Both actors were aware of the importance of their roles towards a community that needs, in Croatia especially, good and positive representation.

The post “Sandbag Dam”, interview with the director Čejen Černić Čanak and the actors Lav Novosel and Andrija Žunac appeared first on Fred Film Radio.

“Peter Hujar’s Day” is the last title directed  by Ira Scahs, the acclaimed American director who was in Berlinale last year with “Passages“. Starring Ben Whishaw who is again the lead in this new film. A day in the life of the famous photographer of  the underground and intellectual New York of the 70’s, the most creative and rebellious moment of American culture, told directly by him in a recording session for a collective book , that never happened.

Ira Sachs tells us he came to New York after mid-Eighties , the end of that era that is narrated in the film. “Peter Hujar’s Day” glorifies and describes how a group  of people that shaped culture and imagery of a whole generation and beyond were friends or acquaintances , and how fascinating this was for a young aspiring film director.

Ira Sachs had a big challenge to overcome: all he had was a book that transcript the conversation and it needed to be animated to be narrated on screen. The location became the key element to help doing that, and the different rooms the actors used, and their physical dynamics worked toward this objective.

The post “Peter Hujar’s Day”, interview with the director Ira Sachs appeared first on Fred Film Radio.

“Night Stage” is the third feature film written and directed by Felipe Matzembacher and Marcio Reolon, two queer film directors from Brazil, here at  the Berlinale for their third time. The film has been included on the Panorama section, and runs for the Teddy Awards as best feature film.

Faelipe Matzembacher and Marcio Reolon made some daring choices in their new film “Night Stage“. The world is getting prudish and making an erotic thriller like this is the right way for the directors to re-appropriate all imagery of sexuality and desire that were hidden even in the lgbtqi+ movies.

“Night Stage” owes a lot to the imagery and aesthetics of independent film of the 70’s and the 80’s. Cinematography is a clear homage to that, and also the free feeling of the sexual encounters of the twp lead characters is a direct consequence of the influence of the filmmaking of that era

The post “Night Stage”, interview with the directors, Felipe Matzembacher and Marcio Reolon appeared first on Fred Film Radio.

At the 75th Berlinale, visionary filmmaker Michel Gondry and his daughter Maya Gondry present “Maya, Give Me a Title”, a unique and whimsical cinematic experiment. What started as a private father-daughter ritual—Maya providing titles, Michel creating stop-motion animations—evolved into a poetic and playful journey that now reaches audiences worldwide.

For Michel Gondry, storytelling is about transformation. He begins with everyday moments, allowing them to spiral into surreal and magical universes. “I generally start by a very mundane life situation… and then magical things start to happen. Because if I start with something already crazy, then there is no magic. There is no surprise, there is nowhere to go.” In “Maya, Give Me a Title”, this process becomes deeply personal, as each frame serves as a way to feel closer to his daughter: “When I don’t see Maja for weeks, it makes me think of her every single frame. So I feel closer to her.”

Initially created as intimate and spontaneous collaborations, these animations have taken on new meaning now that they are being shared with the world. Maya Gondry reflects on this transition: “We chose it together. And it was quite private communication with us, but yes, it made me happy… to present it to the people that want to see it.”

The film thrives on spontaneity, embracing the balance between structure and freedom. Some titles led to simple stories, while others sparked wild, unexpected narratives—each one a creative challenge for Michel Gondry: “Sometimes they are more challenging because of the title. They are more crazy. And it’s fun to try to figure out a story that can include all the elements.”

At its core, “Maya, Give Me a Title” is a declaration of love—from a father to his daughter. Gondry acknowledges that filmmaking, especially when personal, carries deep emotions: “I make them very specific for one person. And there is a danger… if I have feelings for a woman, and I make them too loaded with emotion, it could be scary. Yeah. But I still do it.” These animations are small yet powerful expressions of affection, imagination, and connection, making this film one of his most heartfelt works.

The post “Maya, Give Me a Title”, Interview with Michel Gondry and Maya Gondry appeared first on Fred Film Radio.

At the 75th Berlinale, director Lemohang Mosese presents his latest film, “Ancestral Visions of the Future“, a deeply personal and poetic meditation on memory, loss, and displacement. In this exclusive interview, Mosese reflects on his creative process, the interplay between text and image, and the emotional core of his work.

Described by Mosese as a lamentation, “Ancestral Visions of the Future” explores the tension between childhood memories and the shifting reality of home. The film does not seek to reconstruct the past but rather to express the feeling of searching for something that no longer exists.

For Mosese, cinema is closer to poetry than prose. His approach to filmmaking is instinctive, fragmented, and deeply symbolic, embracing both real and imagined memories. He trusts his gut feeling, even when certain elements feel surreal or abstract.

A central theme in “Ancestral Visions of the Future” is the figure of the mother—both as a personal and symbolic presence. Mosese credits his mother with shaping his identity and artistic confidence, making the film a tribute to maternal love and resilience.

Moses describes cinema as his saviour, a force that has shaped his life and given him a voice. Though he rarely watches films, he remains deeply connected to storytelling as a means of self-expression. “Ancestral Visions of the Future” is his most introspective work yet—a raw and unfiltered outcry that invites audiences to interpret its meaning for themselves.

The post “Ancestral Visions of the Future”, Interview with Director Lemohang Mosese appeared first on Fred Film Radio.

Tricia Tuttle is at her first edition as Director of the Berlin International Film Festival, which 2025 edition of runs from February 13 to February 22. In our chat, she tackles all the fundamental issues that a film festival must face and address, pointing out how her festival, and all festivals, are in this historical moment an act of resistance.

Following its tradition, the Berlinale under the direction of Tricia Tuttle continues in its mission of  telling stories coming from every part of the world and underlining the importance of cultural identities and diversities, as, for example, started to do with all the queer film wave since the 80s.

The post Tricia Tuttle, interview with the Director of the Berlin International Film Festival appeared first on Fred Film Radio.

At the 75th Berlinale, director Emilie Blichfeldt presents her daring debut feature, “The Ugly Stepsister“, in the Panorama section. This twisted body horror adaptation of “Cinderella” shifts the focus to the infamous stepsister, exploring the Grimm fairy tale on a different side.

Blichfeldt shares that her personal struggles with body image and beauty standards led her to reimagine the stepsister’s story. “I suddenly saw her as someone who desperately wanted to fit in,” she explains. “I, too, have felt like an outsider, struggling to meet impossible beauty ideals.”

The film explores female identity, societal expectations, and inherited pressures surrounding beauty. “Women have historically been valued for their looks,” says Blichfeldt. “Even today, we internalize these expectations, making it difficult to break free from them. “The Ugly Stepsister“ critiques how women are often pitted against each other, much like in fairy tales where only one can be the “perfect” woman.

Creating a visually cohesive fairy-tale world was a major challenge. “There were costumes, dance sequences, prosthetics, and body horror effects—all in a limited timeframe,” recalls Blichfeldt. Lead actress Lea Myren delivered intense physical performances, adding depth to the film’s psychological horror elements.

Beyond the Cinderella rivalry, the film also examines the complex relationship between mothers and daughters. “Beauty standards are passed down through generations,” Blichfeldt reflects. “Breaking free from these expectations is incredibly difficult but necessary.”

When asked about her wish for cinema’s future, Blichfeldt hopes audiences continue embracing bold, challenging films in theatres. “We need to create stories that demand to be seen on the big screen,” she says.

The post “The Ugly Stepsister”, Interview with Director Emilie Blichfeldt appeared first on Fred Film Radio.

At the 75th Berlinale, we sat down with directors Leon Vidmar and Jean-Claude Rozec, two of the creative minds behind “Tales from the Magic Garden“. Presented in the Generation section, this European stop-motion film combines multiple storytelling voices to craft a seamless narrative.

The film originated from Czech producer Martin Vandas and director David Sukup, who envisioned a collaborative omnibus-style project. They adapted the works of Arnold Goldflam, inviting international directors, including Leon Vidmar and Jean-Claude Rozec, to contribute.

“It was a challenge to unify different stories into one seamless film,” says Jean-Claude Rozec. His role was to connect the three individual tales into a cohesive overarching story.

At its heart, “Tales from the Magic Garden“ is about loss and imagination. The main storyline follows three children coping with their grandmother’s passing by telling stories—just as she once did for them. Each story within the film is directed by a different filmmaker, reflecting this multi-perspective approach.

Creating a consistent artistic vision while working separately was a significant challenge. Leon Vidmar explains: “At first, it was difficult because we each had our own creative ideas. But we had to compromise and trust that everything would come together.” Despite the hurdles, the result is a unified film rather than a disconnected anthology.

One of the film’s standout elements is its stop-motion animation. According to Leon Vidmar, this technique was the perfect choice:

“Stop-motion brings an organic imperfection that makes characters feel human. Puppets, like us, have flaws—and that makes them relatable.”

Jean-Claude Rozec adds: “It also fits the surreal tone of Goldflam’s stories. There’s something magical about making puppets come to life frame by frame.”

The film’s contributions from different countries are a testament to international collaboration. While cultural differences were minimal, Jean-Claude Rozec notes: “I had to adapt to the style of the other directors while maintaining a personal touch.”

When asked about the key ingredients for storytelling, Leon Vidmar humorously responds: “A globe, a chair, and a shoe!” Meanwhile, Jean-Claude Rozec reflects: “Drama, chaos, and joy—plus the passion to share stories with the world.”

The post “Tales from the Magic Garden”, Interview with Directors Leon Vidmar and Jean-Claude Rozec appeared first on Fred Film Radio.

Slovenian director Urška Djukić premieres her debut feature film, “Little Trouble Girls “in the Perspectives section at the Berlinale 2025

The film was developed at the 39th edition of the Cannes Cinéfondation Residency, in 2019 and later was awarded as the best work-in-progress project at the Les Arcs Film Festival in December 2023.

“Little Trouble Girls” follows 16-year-old Lucia who’s part of her Catholic school’s all-girls choir and is struggling to find her “voice”, her place in the world as adulthood, sexual tension and doubts arise with her coming of age. 

Djukić admits the film was also her way of giving phiscally and metaphorically space to female voices which have been silenced so often throughout history. 

The film will also be released in Italy by Tucker Film. 

The post “Little Trouble Girls”, interview with director Urška Djukić appeared first on Fred Film Radio.

At the 75th Berlinale Film Festival, Mexican film director and screenwriter Fernando Eimbcke presented his new film, “Olmo“, featured in the Panorama section. This deeply personal coming-of-age story explores the delicate balance between youthful independence and familial responsibility. Olmo, a teenager, is torn between taking care of his father and attending a party, a journey that ultimately brings him back to the realization that family, despite its complexities, is irreplaceable.

Eimbcke co-wrote “Olmo” with longtime friend and writer Vanesa Garnica. Their shared teenage experiences laid the foundation for the narrative. “We started with a simple idea and built on it, focusing on character depth rather than conventional structure,” Eimbcke explains. The result is a deeply human exploration of relationships between parents and children.

For Fernando Eimbcke, making “Olmo” was a transformative experience. “Every film teaches you something,” he shares. Writing and directing the film allowed him to reflect on his own family dynamics. “Families are complicated. They create wounds but also heal them.” Olmo is not an idealized portrayal of family life but rather a heartfelt love letter to its imperfections.

A central theme in “Olmo” is the realization that parents are not just authority figures but individuals with their own vulnerabilities. “There’s a pivotal moment when Olmo sees his mother as a human being with needs, rather than just his mother,” Eimbcke notes. This shift in perspective is a key moment in Olmo’s journey to maturity.

Fernando Eimbcke’s “Olmo” is a poignant, beautifully crafted film that delves into the struggles and warmth of family life. Produced by Oscar-winning Plan B producers Dede Gardner and Jeremy Kleiner (Nickel Boys, Minari, Moonlight) and Teorema’s Eréndira Núñez Larios and Michel Franco, through its authentic storytelling, evocative cinematography, and powerful music, “Olmo” resonates deeply with audiences, leaving them with a renewed appreciation for the people who shape their lives.

The post “Olmo”, Interview with Director Fernando Eimbcke appeared first on Fred Film Radio.