FRED Film Radio - English Channel

In a heartfelt interview, Deidré Jantjies, the producer of “Carissa“, in the Orizzonti section, and Gretchen Ramsden, who plays the titular character, share insights into the creative process and thematic depth of their film. Set in the picturesque yet challenging landscape of the Cederberg mountains in South Africa, “Carissa” tells the story of a young woman navigating her relationship with her grandmother, Wilhelmiena, while confronting societal pressures and her own aspirations.

Jantjies elaborates on the motivation behind the project, emphasizing her desire to celebrate her community through storytelling. “We started this project six years ago, and I felt it was essential to create a film that showcases the beauty and complexity of my people,” she reflects. “The film seeks to highlight our culture and the resilience within our small community while portraying everyday life in a meaningful way.”

The dynamic between Carissa and her grandmother is central to the narrative. As they navigate their differences, the film sheds light on the generational divide and the struggle for understanding. “Carissa begins as somewhat passive, consumed by her phone and disconnected from her surroundings,” Ramsden explains. “However, as the story unfolds, she learns to engage more deeply with her family and heritage.” This transformation mirrors the journey many young people face as they grapple with their identities in the shadow of familial expectations.

Jantjies notes that the casting process was integral to the film’s authenticity. “Working with local actors allowed us to infuse the film with genuine experiences and emotions,” she shares. By casting non-professional performers, they aimed to bring realism to the story, enabling the characters to reflect the true essence of the community. “Wilhelmiena, who plays Carissa’s grandmother, embodies this authenticity beautifully, contributing to the film’s emotional core,” Jantjies adds.

The film portrays a significant moment when Carissa is forced to confront her responsibilities and the potential loss of their rooibos tea fields to developers. “This moment is a turning point for Carissa as she begins to realize the impact of her actions and the importance of her heritage,” Jantjies explains. The stakes are high not only for her but for the entire community, highlighting the broader implications of change and tradition.

Visually, “Carissa” utilizes the natural beauty of the Cederberg region to foster an intimate connection between the characters and their environment. “The landscapes play a crucial role in the narrative, symbolizing both the characters’ struggles and the community’s resilience,” notes Ramsden. By capturing the essence of the surroundings, the film creates an engaging backdrop that elevates the storytelling.

The theme of self-discovery is echoed in Carissa’s journey toward embracing her identity. Ramsden articulates, “Carissa’s character demonstrates the idea of finding one’s true self amidst external pressures. She learns to stand firm and appreciate her roots.” This message resonates deeply in a culture where young people often grapple with expectations imposed by their families and society.

In developing the film, Jantjies and Ramsden aimed to create a narrative that empowers women and celebrates their strength. “We wanted to portray the beauty of girlhood and the complexities that come with it,” Jantjies states. The collaborative efforts between the cast and crew helped achieve this shared vision, allowing for a genuine representation of female relationships in the story.

As the film prepares for its screening at the Venice International Film Festival, both Jantjies and Ramsden express their hopes for its impact. “I want audiences to connect with the characters and reflect on their own experiences with family and identity” adds Ramsden. By showcasing the intricate dynamics within Carissa’s story, they hope viewers will gain insight into their own lives and the importance of understanding their roots.

In conclusion, Carissa emerges as a poignant exploration of identity, family, and the unique challenges faced by women in society. Through Deidré Jantjies’s production and Gretchen Ramsden’s compelling performance, the film captures the essence of growing up, the bonds that shape us, and the resilience needed to embrace one’s true self.

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Included in the competition in the Critic’s Week section, at the 81st Venice International Film Festival, “Homegrown” by Micheal Premo is a closer depiction of the life of three nationalists in Usa Trump supporters, preparing for the infamous assault to the Capitol in Washington on October 6. We met with the director to know more about it.

As a black man, for the director of “Homegrown” Micheal Premo it was paramount in order to be able to make the film being accepted and gaining the trust of the men he was filming: not an easy task.

The protagonists of Micheal Premo‘s doc “Homegrown” were left with disillusion and bitterness, as the beliefs they were fighting for and the political and social system they were supporting left them alone. Justice was served and it was not a pleasant meal.

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Jethro Massey brings his film “Paul and Paulette Take A Bath” to the Venice International Film Festival, in the Critics’s Week competition. The film stars Marie Benati and Jérémie Galiana as a young couple that meets in Paris and is attracted to history and the more macabre aspects of it. We met director and actors after the premiere of the film to know more about it.

Jethro Massey has been fascinated by the famous Lee Miller self portrait she made inside Hitler’s bathtub, after he committed suicide. This was the germ for “Paul and Paulette Take A Bath”, a story about the dar moments of history and the weird fascination they have on us.

Jethro Massey in “Paul and Paulette Take A Bath” touches all famous and dark characters and moments of history, down to the Bataclan massacre. In this case, though, he changes tone and approach, as both Jérémie Galiana and Marie Benati explain.

The post “Paul and Paulette Take A Bath”, interview with the director Jethro Massey and the actors Marie Benati and Jérémie Galiana appeared first on Fred Film Radio.

After the World Première as a Special Event at the Giornate degli autori, we had the pleasure to have a chat with the filmmaker and anthropologist Mónica Taboada-Tapia.

With her feature-length documentary “Alma del desierto“, Monica Taboada-Tapia bring us in La Guajira region, in Northern Colombia, where we meet Georgina Epiayu, a transgender Wayúu woman.

Mónica Taboada-Tapia has been filming Georgina along eight years, witnessing her attempts to acquire an identity card reflecting her gender.

Through Georgina’s quest, the filmmaker also intends to give a voice to the whole Wayuu community.

“Alma del desierto” is not only poetic and beautifully shot, but it is also relevant as an impact film in  support of the LGBTQ+ rights.

The movie has just been awarded with the Queer Lion of the 81st Venice International Film Festival

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“Love” is the new film by Dag Johan Haugerud, in competition at the 81st Venice International Film Festival. The film is the second part of a trilogy that started at the Berlin festival with “Sex” and will be completed with “Dream“, that will appear later next year. We met with the director and the lead actress Andrea Barein Hovig after the premiere.

In “Love” the intention of the director was to demonstrate that it is easy to be good, and that being good is rewarding. The morals are personal as far as we are not hurting others, every choice is the right choice.

Andrea Braein Hovig explained that the way Dag Johan Haugerud was directing them was very relaxed and naturalistic: having no constrictions in terms on how to deliver besides the nature of the characters and the screenplay made the outcome really believable and empathetic.

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In a compelling conversation, Jan-Willem van Ewijk, the director of “Alpha“, in the Giornate degli Autori section, shares insights into the intricate emotional narrative of his film, which juxtaposes family bonds with the adrenaline-fueled world of extreme sports. Set against the stunning, snow-covered landscapes of the Swiss and Slovenian Alps, “Alpha” tells the story of a father-son relationship strained by grief, personal loss, and the trials of their high-stakes environment.

At the center of the story is Rein, portrayed by Reinout Scholten van Aschat, a young snowboard instructor struggling to cope with the loss of a loved one. He is visited by his charismatic yet occasionally overbearing father, Gijs, played by Gijs Scholten van Aschat. Their journey culminates in a dramatic confrontation that tests their relationship and leads to a primal fight for survival. “The dynamics between these two characters are crucial,” Van Ewijk explains. “Friendship and family are intertwined, and I wanted to capture the complexities of their relationship as they navigate their emotions.”

Van Ewijk reflects on the concept of friendship, noting its central role in the film’s development. “Friendship can be an ambiguous relationship, and it’s essential to explore those tensions,” he states. Drawing on his own experiences, he emphasizes how friendships can sometimes be as significant as family bonds.

The film’s narrative is propelled by a prank that Rein and his friends play on their principal, resulting in the installation of a surveillance system in their school. Consequently, they grapple with the consequences of their actions against the backdrop of a darkening political climate. “I wanted to examine how young people respond to societal pressures and how those responses shape their friendships,” Van Ewijk explains. This theme resonates strongly in a world where external factors challenge personal relationships and identities.

A noticeable aspect of Alpha is its striking visual style, with Van Ewijk partnering closely with cinematographer Douwe Hennink to achieve a raw and immersive aesthetic. “We wanted to showcase the beauty of the landscapes while reflecting the emotional states of the characters,” he shares. The use of light and shadow throughout the film creates a palpable sense of tension and instability, particularly in scenes that visually mirror the characters’ emotional upheaval.

Van Ewijk pays homage to the inspirations behind “Alpha“, noting how films like Rebel Without a Cause and the Taiwanese New Wave influenced his storytelling approach. “Those films showcase the rebellious spirit of youth in times of societal upheaval,” he remarks. “I strive to channel that energy while infusing humor and realness into the narrative.”

The director also discusses the emotional weight of the film, explaining how it portrays the bittersweet nature of youth. “The characters are facing existential challenges. They are like tectonic plates—shifting and moving beneath the surface,” he states, drawing a parallel between their friendships and the looming threat of a catastrophic earthquake. As external pressures mount, the film captures the essence of uncertainty and growth.

As “Alpha” prepares for its premiere, Van Ewijk expresses appreciation for the collaborative nature of the filmmaking process. “Working with a dedicated cast and crew made all the difference. The experiences we shared, especially on location, enriched the storytelling,” he explains. The authenticity brought by the non-professional actors, alongside the stellar performances of Reinout Scholten van Aschat and Gijs Scholten van Aschat, enhances the film’s emotional impact, allowing audiences to connect with the characters on a deeper level.

In summary, “Alpha” emerges as a poignant reflection on friendship, the pressures of youth, and the complexities of growing up in a world marked by uncertainty. Through Jan-Willem van Ewijk’s sensitive direction and compelling storytelling, the film invites viewers to contemplate their relationships and the societal challenges that shape their lives.

The post “Alpha,” interview with Director Jan-Willem van Ewijk and actors Reinout Scholten van Aschat, Gijs Scholten van Aschat appeared first on Fred Film Radio.

In an engaging interview, Khaled Mansour, the director of “Seeking Haven for MR Rambo”, section Orizzonti Extra, explores the emotional depth and thematic richness of his compelling narrative. Set in a working-class neighborhood in Cairo, the film follows Hassan, a thirty-year-old man whose life is upended when he faces eviction from his home. Alongside his devoted dog, Rambo, and his mother, Hassan navigates a worsening situation with their landlord, Karem, who is eager to expand his car repair workshop into their living space.

Mansour emphasizes the profound bond between Hassan and Rambo, highlighting how their relationship serves as a source of solace amidst the chaos. “Rambo is more than a pet; he represents loyalty, love, and companionship during Hassan’s struggles,” he explains. This dynamic is crucial in showing the emotional weight that pets often carry in the lives of their owners, especially during times of crisis.

The film intricately weaves a narrative reflecting the social and economic challenges faced by many in contemporary Egypt. Mansour shares that the character’s journey mirrors broader societal issues, capturing the harsh realities of urban life while exploring personal resilience. “I wanted to showcase how societal pressures affect individual lives and relationships, especially in working-class communities,” he states.

The tension between Hassan and Karem escalates when Hassan’s mother decides to sue the landlord for eviction. This conflict serves as a springboard for exploring themes of power and vulnerability. “Karem’s aggression stems from his own insecurities,” Mansour comments, offering insight into the complex dynamics that often accompany landlord-tenant relationships.

As the story progresses, the audience witnesses both the despair and determination of Hassan as he seeks to protect his family and their home. The narrative takes viewers through emotionally charged moments, illustrating the complexities of love, loyalty, and belonging. “Hassan represents many people who face the threat of losing their homes and the resulting emotional turmoil,” Mansour reflects, underscoring the universal relevance of the story.

The film captures moments of visceral emotion and intense drama, layering the visual narrative with cinematography that portrays the gritty realism of Cairo. “We aimed to create an immersive experience that reflects the characters’ inner struggles,” Mansour explains. The environment becomes a character in its own right, shaping the emotional landscape of the story.

Discussing the casting process, Mansour emphasizes the importance of authenticity in portraying the characters’ experiences. “Working with non-professional actors brought a rawness to the performances that heightened the film’s emotional impact,” he notes. By selecting actors who resonate with their roles, Mansour achieved a genuine connection that allows viewers to empathize with their struggles.

The culmination of Hassan’s journey becomes a reflection on resilience and the capacity for change. “Through his bond with Rambo, we see how love can provide strength even in the darkest of times,” Mansour states. As the film unfolds, it challenges viewers to consider what it means to find security and identity amidst instability and uncertainty.

In conclusion, Mansour expresses a strong desire for “Seeking Haven for MR Rambo” to resonate with audiences worldwide. “While the film is deeply rooted in the realities of Cairo, the themes of loyalty, love, and the fight for dignity are universal,” he concludes. By embarking on this heartfelt journey, he hopes to inspire conversations about the human experience and the enduring connections that shape our lives.

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“Joker: Folie À Deux” the much-anticipated follow-up to 2019’s Academy Award-winning “Joker”, is back in the Venice Competition after winning the Golden Lion.

Director Todd Phillips confesses that there couldn’t have been no other place but Venice to premiere this sequel as for the way the film was received.

This new Joker film stars Joaquin Phoenix once again in his Oscar-winning dual role as Arthur Fleck/Joker, opposite Oscar winner Lady Gaga.

Thanks to the presence of Lady Gaga, who was also a music consultant for the film, “Joker: Folie À Deux” turns into a musical where the songs are the way its characters speak their mind and their true feelings.

Besides the musical part, Todd Philipps remarks that “this new film is about identity and questions who Arthur Fleck is and whether Joker is truly part of him”

The film will be released worldwide by Warner Bros. Pictures, and will be only in theaters nationwide on October 4, 2024

The post “Joker: Folie À Deux”, interview with director Todd Phillips appeared first on Fred Film Radio.

At the 81th Venice Film Festival, Fred Film Radio interviewed the director and producer Simon Brook to talk about the restoration in 8K of Peter Brook‘s epic film adaptation of “The Mahabharata” 35 years after its original debut at the Festival.

How complex was it for Simon Brook to get “The Mahabharata” restored? What did him have to fight against? “It had not been shown in movie theaters for really many years and I couldn’t figure out why. My father would say to me: ‘Could you ask the producer why the film isn’t being shown?’. But we never really got a satisfactory answer. And then a few years ago the producer died and I thought: ‘Wwell, let me see if I can’t buy the film back from his estate’.And that was the beginning of an epic journey that was like the Odyssey or something, where I had to firstly sort out all of the legal situation on the rights and the copyright holders and things like that. And then there was a second one, which is actually the film had been put up as collateral by the producer, along with 12 of his other films and two that he was in development, against a bank loan that he’d never repaid. And so the bank had actually resold that debt to another bank, had resold it to another bank. And you know, I’m a filmmaker, I’m not a bank finance lawyer or whatever. So it was a very complex and expensive process that involved really lawsuits and threats. And many times I thought this isn’t going to happen. There’s also 2025 is the 100th anniversary of my father’s birth. And one of the things I wanted to do is to be able to present the film around the world as part of that commemoration and celebration”.

35 years have passed since the release of “The Mahabharata” which is now restored in 8k version. But what is Simon Brook expecting for the future of the film? “I think it’s an extraordinary story that is particularly relevant to teenagers. Because it ask the questions that any teenager has asked themselves. How do you live your life, your relationships, friendship, enemy, love, how do you do this? And all of the torments of the teenage years are very much things that actually are going on between the adults in Mahabharata. I think it’s tragically relevant today, more relevant maybe than ever in its thousands of years of existence. But it’s speaking about the problems the world is facing right now, which are cousins killing cousins, brothers killing brothers, the destruction of the earth, the earth rebelling, the overpopulation of the planet, catastrophic climate change, these are all things that trigger Mahabharata, but it’s not a depressing movie.

It’s showing that actually these are very complex issues that have to be approached in a non-binary, black and white way. But you can’t say someone is just good or bad, or this is evil, it’s all very, very complex. And I think the world that we’ve been living in has been leading us more and more into a simplification of thought, simplification of concepts, simplification of communication, X being a prime example of it. The soundbite world has replaced the thinking about the complexity of the issues. And the Mahabharata brings us back to that fundamental truth which is that you can’t divide everything into left and right, black and white, good and bad. It is a very complex world we live in and we have to accept that. And it’s what makes it so fascinating and interesting and great to be alive. We shouldn’t be afraid of this”.

The post “The Mahabharata”, interview with producer Simon Brook appeared first on Fred Film Radio.

At the 81th Venice Film Festival, Fred Film Radio interviewed Dani Rosenberg, director of “Of Dogs and Men”, a movie set in the wake of the Oct. 7 Hamas terror attack.

“Of Dogs and Men” is the photograph of a specific historical moment. How did Dani Rosenberg manage to talk about it while trying to remain neutral as much as possible? “For me it was important to go to the site, this war zone, as soon as possible, to try to describe reality as it unfolds. And for doing so, we were a very small group, just cinematographer, sound, a producer and an actor. That’s it for the beginning. I didn’t write a script, I just had a basic structure. The people we met there became part of this journey. I felt that was maybe the only way to do it. Fast and effective”.

Dani Rosenberg filmed “Of Dogs and Men”along the Gaza border. The audience can see the bombs hitting the city day and night. How does it feel to be there in those moments and be aware of what’s happening? “Horrible. I know now this region is hell on earth. So to be there in the kibbutz and watching from the other side, it’s to be in a continuous crime scene. Sometimes we shot and we just said: ‘Okay, we cannot shoot anymore, it’s just too much to be now in this place and shoot’. We have to respect this place because people were dying, people were massacred, people were kidnapped. People are dying in mass. It was horrible, but it was also for us the mission to describe it and to present it”.

Dar, the main character, watches videos on Telegram about the attack and what happens in Gaza. For Dani Rosenberg, as a director, what does it mean to use these kind of videos to tell a story? “I felt that the first shot of Telegram was a shot that I shot ten times in different angles. Because I want to describe something more. It’s not just what is happening, but also the way we are looking on what is happening. Because this kind of element that we are just scrolling, the flow of images can also block our conscience, block our heart, because it’s too much. So I also want to talk about that. You want to understand reality, but it is just too much for your soul, so you lock yourself”.

What does Dani Rosenberg hope people will take from “Of Dogs and Men” ? Especially after the petition from a group of directors who opposed the presence of his film at the festival. “For me it was disappointing to see filmmakers react to a film that they didn’t see. But after saying that, I have to say that I wish that this war will end soon. I wish that this war will end and the hostages will be released. And I feel that in the end of the day, the people that made this petition also want the war to end. So we share the same perspective. I just don’t agree with their decision to make it, but in the end of the day, we are the same group that wants the war to end”.

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