FRED Film Radio - English Channel

Sonja Prosenc is in competition at the 36th Trieste Film Festival with her third feature film, “Family Therapy“. 

After premiering in Tribeca and participating at the Sarajevo Film Festival, the film is Slovenia’s Oscar nominee for Best International Film and will be distributed in Italian cinema by Emera Film. 

The film is inspired by a childhood memory, Prosenc recalls in her director’s note: “When I was a child, our car burnt down in the road. From this childhood memory of cars driving by, Family Therapy was born. In the midst of chaos and fear, another car drives past the burnt car – shiny, new, with a family that seems perfect and doesn’t stop to help. This planted a seed of curiosity: Who are the people that choose not to stop?”

Through this look into an isolated family, “Family Therapy“ reflects on our loss and fear of connection in a moment in which we are all afraid of feeling vulnerable and seeing vulnerability in other people. 

The post “Family Therapy”, interview with director Sonja Prosenc appeared first on Fred Film Radio.

The timeless tale of betrayal and vengeance, “The Count of Monte Cristo“, returned to the screen with a captivating adaptation presented at the Rome Film Fest released in Italy on RAI 1 from the 13th of January 2025. Directed by the Oscar-winning Bille August (“Pelle the Conqueror”) and starring Sam Claflin (“Hunger Games“, “Me Before You“), this version dives deep into the psyche of Edmond Dantès, making the classic story resonate with modern audiences.

Bille August emphasized why “The Count of Monte Cristo” required an expansive adaptation:

August also highlighted the modernity of the characters, particularly the female roles, as key to the story’s contemporary relevance.

Sam Claflin brought a nuanced portrayal of Edmond, a man driven by loss and betrayal. Reflecting on his connection to the character, he said:

Claflin also described the emotional challenges of the role:

The ensemble cast played a pivotal role in shaping the story. Claflin shared his admiration for Jeremy Irons, who portrayed Abbot Faria:

He also praised Michele Riondino’s charm and comedic energy:

Bille August and Claflin believe the story remains relevant because it explores universal emotions. August elaborated:

For Claflin, understanding Edmond’s journey involved reflecting on forgiveness and growth:

Claflin acknowledged the weight of stepping into such an iconic role:

The post “The Count of Monte Cristo”, interview with the director Bille August and the actor Sam Claflin appeared first on Fred Film Radio.

At the Museum of Modern Art in New York, we had the pleasure of meeting Chiara Mastroianni at the opening night of the highly anticipated retrospective “Marcello and Chiara Mastroianni: A Family Affair“, running from December 12, 2024, to January 5, 2025. This extraordinary celebration honors the cinematic legacy of Marcello Mastroianni and the remarkable career of his daughter, Chiara Mastroianni.

Chiara Mastroianni generously shared memories of her late father and reflected on his legacy. She mentioned that Marcello, ever modest, would likely have balked at being celebrated for his 100th birthday, preferring instead to shift the spotlight to the directors he collaborated with.

The retrospective opened with Luchino Visconti’s “Le Notti Bianche” filling MoMA’s Theater 1 with movie lovers and notable personalities eager to celebrate one of the greatest actors of all time and his daughter, who keeps his legacy alive. Chiara’s intimate and moving recollections of her beloved father made the evening truly special.

A heartfelt thank-you to Sally Fisher PR for their unparalleled skill in organizing such incredible events in the city, and to the team behind the retrospective: Joshua Siegel, Curator of the Department of Film at MoMA, and Camilla Cormanni and Paola Ruggiero from Cinecittà.

The post Chiara Mastroianni, interview at the opening night of “Marcello and Chiara Mastroianni, A Family Affair” at MoMA NYC appeared first on Fred Film Radio.

“Nosferatu” by Robert Eggers, coming out in Italian cinemas on January 1st, marks the third collaboration between the director and actor Willem Dafoe. 

Dafoe was indeed among the protagonists of “The Lighthouse” and “The Northman“, the second and third film directed by the American director who made his directorial debut in 2015 with “The Witch“.

“Nosferatu” draws inspiration from both the 1922 masterpiece by F.W. Murnau and Bram Stoker’s Dracula. Dafoe plays the role of professor Albin Eberhart Von Franz, a doctor specialized in the occult, demons, vampires, creatures from above. 

He’s the only one who’s able to cure and understand Ellen (Lily Rose-Depp), a young wife to real estate agent Thomas Hutter (Nicholas Hoult), a woman that,  since childhood, has become the object of a powerful vampire’s lustful attention and obsession.   

As producer Chris Columbus said that Eggers’ office looked like the one of a vampirology professor, Albin Eberhart Von Franz might have been the role the director would have chosen to play himself. Basically Von Franz is Eggers and Eggers is Willem Dafoe.

Willem Dafoe admits that there’s some truth in this affirmation and adds: “ You can say Eggers is me in the respect that I’m his creature, he sends me out and take his landscape and I like that relationship with a director”

The post “Nosferatu”, interview with actor Willem Dafoe appeared first on Fred Film Radio.

In this exclusive interview, we delve into the intricate layers of “Brief History of a Family” with its director, Jianjie Lin. Set against the backdrop of China’s evolving societal landscape, the film explores the ambiguous intentions of its characters, particularly the enigmatic Shou. Portrayed in a way that enhances the audience’s intrigue, Shou invites deep reflection and discussion. “Brief History of a Family” won the prestigious Black Panther Award 2024 of Noir in Festival, further solidifying its impactful narrative and cinematic execution.

During our conversation, Jianjie shared his excitement about attending the festival. “It’s my first time here, and I was able to see the town a little bit earlier, walking around,” he said, giving a personal touch to the interview. This warm introduction set the stage for a discussion that blended personal reflection with insights into his cinematic work.

One of the main themes discussed was the complexity of Shou’s character. Jianjie emphasized the character’s ambiguity, which adds depth to the film’s narrative. “In cinemas, you rarely see a character that is as ambiguous as this one,” he explained. Throughout the film, viewers are left questioning whether Shou is an intruder or simply a misunderstood friend. This creates a thriller-like tension that keeps the audience engaged. Jianjie’s commitment to developing a multifaceted character is evident in his extensive process, from scripting to casting, underscoring the importance of character development in storytelling.

The film’s journey was not without its challenges. Due to the pandemic, funding proved to be a major obstacle, with Jianjie revealing, “The project took me many years to fund… we had co-production with Europe.” Despite these hurdles, the film was completed in 2022, with post-production work carried out in Copenhagen and Paris. Jianjie’s perseverance and dedication to the project are reflected in the film’s rich cultural elements and cinematic techniques.

As the film explores the aftermath of China’s one-child policy, it delves into themes of parental aspirations and the identity struggles of the only child, Wei. Jianjie noted, “This is always a struggle… I see it as a very universal conflict.” The film portrays a family under immense pressure, navigating personal ambitions and societal expectations—an issue that resonates globally.

Casting played a critical role in the film, and Jianjie spoke about the rigorous process of pairing actors to create authentic chemistry. “I screened numerous candidates, matching actors to foster a partnership that truly brought the characters to life,” he explained. Sun Qseilun and Moran Lee’s performances beautifully capture the tension between the siblings, adding emotional depth to the story.

A key element in “Brief History of a Family” is its visual style. Jianjie aimed for a clean, almost clinical setting that mirrors the characters’ psychological states. “It works on two levels,” he said, blending traditional Chinese elements with Western influences. This visual approach creates a striking environment that enhances the narrative. The film’s meticulous color grading emphasizes clarity, urging the audience to engage closely with every scene. “Every frame is so clean, but it also asks the audience to really look carefully,” Jianjie explained.

Finally, Jianjie reflected on the evolving perception of Chinese cinema on the global stage. He noted the shift from viewing Chinese stories as exotic to recognizing their universal themes. “I think it’s a new Chinese cinema that hasn’t been done a lot,” he said, emphasizing that while Brief Story of a Family centers on Chinese customs, its core themes resonate with global audiences. His enthusiasm for breaking stereotypes in cinema shines through as he asserts, “Whatever happens in China is not that much different from whatever happens everywhere else in the world.”

“Brief History of a Family” is more than just a film; it is a deep exploration of identity, family dynamics, and the pressures of cultural expectations. Jianjie Lin’s thoughtful approach to storytelling invites audiences to reflect on their own lives, creating a meaningful dialogue that transcends geographical and cultural boundaries. The film’s universal themes, coupled with its striking visual aesthetic and intricate character development, make it a must-watch for anyone interested in exploring the complexities of human relationships.

The post “Brief History of a Family,” Interview with Director Jianjie Lin appeared first on Fred Film Radio.

In a compelling interview at the River to River Film Festival in Florence, Shalini Ushadevi, the director of “Ennenum“, explored the complex layers of her film. The story delves into the themes of love, manipulation, and immortality, using a captivating narrative to engage viewers. Ushadevi‘s film follows Jiva, a character who embodies life itself and sells the concept of eternal love. A key line from Jiva, “The foundation of everlasting love is manipulation,” encapsulates the film’s exploration of how understanding another person can lead to both intimacy and manipulation. Ushadevi shared that this statement often elicits gasps from the audience, highlighting its profound impact.

The dynamics between the characters are intricately woven into the film Ushadevi‘s setting, a remarkable building called Churi, designed by architect Vinu Daniel.  referred to Churi as a third character, noting how its design mirrors the relationships portrayed on screen. The building’s shape and structure create a claustrophobic atmosphere, reflecting the emotional isolation experienced by the characters. Ushadevi emphasized that the architecture is essential to conveying the characters’ emotional journeys, stating, “The building encapsulates my story in a way because there are so many shapes reflecting our characters spiraling in and out.” This visual storytelling adds emotional depth, making the setting a crucial part of the narrative.

Ushadevi’s inspiration for Ennenum came from a 2011 project that discussed the possibility of downloading human consciousness into a chip by 2045. This sparked her curiosity about the concept of immortality. “When we think about immortality, it’s not just about us; it’s also about the people we spend infinite time with,” Ushadevi noted. This led her to ask, “What is love? What is forever love?” She explained that committing to love someone forever is both significant and precarious, requiring mutual growth to maintain the meaning of the promise.

Ushadevi also explored societal expectations in relationships, particularly through a scene where a female character struggles with the notion that her love is conditional upon having children. This reflects a broader societal narrative that often links motherhood with worthiness in a relationship. Ushadevi aimed to challenge this simplification of love, stating, “I wanted to explore why love could not just be between two people, unconditionally without agendas.” The film questions traditional views on love and parenthood, highlighting how societal expectations shape personal relationships.

One of the standout moments in Ennenum occurs when the characters revisit their first memories related to their relationships. Ushadevi described this as a reflection on the often-overlooked significance of everyday interactions. “Life is not always cinematic,” she acknowledged, illustrating that it’s often the trivial moments that hold the deepest meaning. These seemingly insignificant experiences build a stronger connection between the characters, inviting viewers to reflect on their own relationships.

As the conversation shifted to audience reactions, Ushadevi expressed her hope that Ennenum would resonate universally. “The emotion is universal,” she said, noting that the struggles of love and connection transcend cultures and backgrounds. The reactions at various screenings, including at the Third Eye Film Festival in San Francisco, confirmed this sentiment. Ushadevi shared that audiences often engage deeply with the film, asking profound questions about love and relationships, further affirming the film’s relevance.

For those interested in a deep exploration of love, immortality, and human connection, “Ennenum” is a must-watch. Ushadevi’s thoughtful storytelling and rich character development offer a profound and visually captivating experience. The film invites viewers to reflect on their own relationships and the nature of love, making it a powerful cinematic journey.

The post “Ennenum”, Interview with Director Shalini Ushadevi appeared first on Fred Film Radio.

At the River to River Film Festival in Florence, acclaimed actor Vinay Pathak offered an intimate glimpse into his role in “Everybody Loves Sohrab Handa“. In a candid interview, he highlighted the strong connections among the cast and the film’s unique approach to portraying meaningful relationships.

Vinay Pathak shared his first impressions of the script, penned by his close friend and director, Rajat Kapoor. Reflecting on his reaction, he said: “It’s not about a murder. This film is not about murder. This film is about people. This film is about friends.” This sentiment underscores the narrative’s focus on human connections and shared experiences, setting the tone for the entire movie.

One of the film’s defining elements is the real-life camaraderie among its cast members. Vinay Pathak reminisced about how the set felt like a reunion: “Everybody in the film are actually friends in real life.” Decades of friendship translated into palpable on-screen chemistry, turning each day of shooting into a celebration filled with joy and laughter.

Beyond the scenes, the cast bonded over shared meals and lively discussions, blending their diverse personalities. Vinay Pathak likened the experience to being back in boarding school with old friends, capturing the film’s essence as a joyous exploration of life and relationships.

Diving into the movie’s deeper themes, Vinay Pathak reflected on the transformative power of love. “When there is love, it changes things,” he noted, emphasizing how love shapes and complicates relationships. This emotional resonance ensures the story connects with audiences on a profound level.

Vinay Pathak credited the well-crafted script and Rajat Kapoor’s direction for his compelling performance. “If you stick to the script and if it’s a well-written script… you can’t go wrong,” he explained. The seamless collaboration between actor and director brought authenticity to the characters, enriching the storytelling.

Filmed in just a month and a half, the production’s efficiency fostered spontaneity and a naturalistic feel. The team’s shared commitment extended beyond the set, with post-shoot gatherings further strengthening their bonds. This immersive environment allowed the cast to deliver performances rooted in authenticity.

Outside of acting, Vinay Pathak evealed his passions for movies, music, and travel. While watching films and listening to music are daily rituals, travel holds a special place in his heart, offering opportunities to explore and connect with the world.

As the interview concluded, Vinay’s enthusiasm for “Everybody Loves Sohrab Handa“ was infectious. He described the project as a heartfelt tribute to friendship and life’s delightful chaos. The film’s joyous spirit, anchored in themes of love and camaraderie, leaves viewers reflecting on their own relationships.

For those seeking authentic storytelling centered on friendship,  “Everybody Loves Sohrab Handa“  is a must-watch. It beautifully captures the essence of human connections, celebrating the stories woven through love, laughter, and shared experiences.

The post “Everybody Loves Sohrab Handa,” interview with Vinay Pathak appeared first on Fred Film Radio.

The post “I’m Still Here”, interview with director Walter Salles appeared first on Fred Film Radio.

The post François Ozon, interview with director and screenwriter at Marrakech IFF appeared first on Fred Film Radio.

During Focus London 2024, we sat down with Raffaella Delvecchio of the Apulia Film Commission to hear about more about how they foster and promote their work in the region.

Explaining their position as the “heel of the boot” on the map of Italy, they work to be on the radar of film productions, acknowledging they have many competitors, such as Greece, Malta and Albania, due to their location.

As such, they organise festivals and have a development fund, open to both national and international productions, in order to appeal to new creators.

Last year, they worked on numerous Amazon and Netflix projects, including “Swarm“, and look forward to a strong 2025.

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

The post Raffaella Delvecchio, interview with the International Production Manager at Apulia Film Commission at Focus London 2024 appeared first on Fred Film Radio.