FRED Film Radio - English Channel

At the 81th Venice Film Festival, Fred Film Radio interviewed Vojtĕch Strakatý, director of “After Party” featured at Orizzonti Extra.

“After Party” is inspired by the director’s own life and a difficult time for his family. Was choosing to tell this story also a way of freeing yourself from those past emotions? “The idea for the film started among, or amidst the bad things happening to our family. It was in debts because of my father’s actions and even though it was really sad and depressing and really tough to go through it, I was always thinking that if I wanted to be a filmmaker it’s always easier and better to draw from my own life because the closer the subject to you, the more authentic or the more true the film will turn out”, says Vojtĕch Strakatý. “But I never wanted to approach it as an autobiography. I wanted to just take elements that happened in real life to me and create this one day of my heroine but all of these were made up, but just filled with details of my own life that I’ve been through that I knew well. And because in real life things are so complicated that it would never translate well in film, it would be too complicated for the viewers, so you have to make it differently. I wanted to make this film inspired by my life, I’ve never thought of it as a therapeutic way or just going through it. I’ve never lived through it again during the filming process”.

The action takes place over 24 hours, but “After Party” also talks a lot about the past and future of the protagonist and her family. “Also in real life things usually happen very slow, like over days, weeks, months, years. And also in our case of our family it was like years or decades. But in cinema I’m always fascinated by the now, by the real time element of film that you’re capturing. I thought even in real life some days are more crucial to you, and I thought it would be interesting to condensate this story that spans more years into one day that will be just very decisive for Jędziszka. In terms of time there are things that happen before the film starts, and there are things that will happen after it ends, but I sort of thought that this specific day in her life is transformative, that it’s sort of a threshold for her in terms of becoming more adult in a way”.

Even if the world of the main character falls apart, Vojtĕch Strakatý decided to maintain a tone not so dramatic in “After Party”. A choice that is also reflected in the desire to use a lot of light during filming. “I think it’s important to offer light and hope, especially in the current state of the world, so that’s what I’m, even as a viewer, that’s what I look in when I’m watching films. I don’t want to watch things that are too nihilistic. I think there’s a lot of it in the world, and I think cinema can offer us at least a spark of hope, or a spark of lightness. And for me it was always a film that should have this summer vibe, coming of age movie elements that were contrasted with the family drama. Because I’ve seen many family dramas, and they are usually heavy and depressing. I didn’t want the audience and myself included to be only depressed. So I thought: ‘Let’s just try to balance these two energies'”.

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The 2024 edition of Final Cut in Venice was won by “Aisha Can’t Fly Away”, a film directed by Morad Mostafa and produced by Sawsan Yusuf. Fred Film Radio interviewed them together with the curator Alessandra Speciale. The movie is about Aisha, a 26-year-old African migrant caregiver who lives in Cairo where she witnesses the underworld of African migrants’ society and the tension between the different groups.

Pressure, routine, dreary work and an undefined relationship make her dreams cross to her reality leading her into an impasse. Final Cut in Venice supports films in post-production from all African countries and five countries in the Middle East: Iraq, Jordan, Lebanon, Palestine and Syria. The goal of the project is to enhance the role of the Venice International Film Festival as a bridge builder supporting the production of independent quality films coming from Africa and Arab countries; providing concrete help to film production, and promoting the competitiveness of their audiovisual products on the international market.

“For me, the film is about alienation. It’s about the character, she’s belonging and doesn’t belong at the same time for her community. So if I can say something about the film in one word, it would be alienation”, says director Morad Mostafa. But is there an image or an element he started with to develop the project? “The first moment that came from me, when I was in a public bus in Cairo, and beside me, an African migrant girl was sleeping deeply for a while. And suddenly she wakes up screaming and crying. And she scared all the passengers in the bus. And then the bus stopped and she left immediately without any reason about what happened or this panic happened. This scene was stuck in my head for a long time. And from this moment, I was thinking about this character. About her dreams, her nightmares, her life in Cairo, because Cairo is a very hard city amongst people. So how about the refugees or strangers?”.

What does it mean from a production point of view to have Final Cut in Venice support? “Being at the Venice Film Festival, one of the biggest festivals in the world, is something that I consider as winning. For Final Cut, the connections were really great. And we got to meet a lot of people that we wanted to meet, and the list was amazing. We have been meeting some of the distributors we were targeting and the industry people” admits the producer Sawsan Yusuf. “And ending by winning the prize, that was something that we were really hoping for. And when it happens, I know that we have this in our CV of the film. And it will help in the visibility of it for the upcoming steps. It’s the first time we share any footage, and we still have a long way to go in the editing and the mixing and everything else. So at this point, I consider this is one of the biggest winnings that we had, and the biggest support. The positive energy and the push to continue on the journey and make sure that we are on the right track”.

What can be deduced from the 2024 edition of Final Cut in Venice and, after 12 editions, what should we expect for the future? “This year we had seven films in post-production, three films from Egypt. So that means that Egypt is living a very rich and productive moment. And five projects up to seven got prizes”, underlines the curator Alessandra Speciale. “We resist 12 years and we hope to go on. Also because we receive more and more good feedback. For instance, this year we have three films coming from Final Cut in Venice 2023 selected in Venice. We have two films this year in Orizontti, Carissa, a South African film, and a film from Palestina, Happy Holidays. And a third film, coming from Final Cut in Venice last year, already screened in Giornate degli Autori, Sudan, Remember Us. So I think that means that we have been supporting films that then have a very interesting career in the Festival”.

The post “Aisha Can’t Fly Away”, interview with director Morad Mostafa, producer Sawsan Yusuf and Alessandra Speciale, curator of Final Cut in Venice appeared first on Fred Film Radio.

The Venice Production Bridge day in 4 minutes!

Welcome to our Venice Production Bridge Daily Snapshot, your quick 4-minute update on the latest happenings at the industry hub of the Venice Film Festival!

Join us as we delve into the world of film financing, co-productions, and market trends, bringing you exclusive insights, interviews with industry professionals, and behind-the-scenes highlights, all packed into a brief but informative segment.

The post The Venice Production Bridge day in 4 minutes – 04/09 appeared first on Fred Film Radio.

Interview during the 81st edition of Venice International Film Festival with Athina Rachel Tsangari, director of the film “Harvest”, and actor Caleb Landry Jones. The production, in competition in Venice Film Festival 2024, is an adaptation of the novel from author Jim Crace.

In their interview with FRED Film Radio, our guests told us thay they didn’t want to deliver a message to the audience, although they think that the movie talks about the lack of action that human beings show in facing threats against their way of life. The director revealed that Landry Jones was wearing the same boot he wore in the film during the interview.

“Harvest” takes us to a remote village -located in an unknown place, living in an undefined time- in which peasants live freely and enjoy their connection with nature. Suddenly a group of strangers arrive and they face the threat of an invasion. Alongside that, a mysterious man tries to draw a map of the land.

The post “Harvest”, interview with director Athina Rachel Tsangari and actor Caleb Landry Jones appeared first on Fred Film Radio.

Welcome to our daily insights from the 27 Times Cinema.

The 2024 edition of 27 Times Cinema will bring together ten former participants to serve as the jury for the GdA Director’s Award, marking the tenth anniversary of this accolade.

Together with their jury president, these former 27 Times Cinema participants will evaluate the films in competition with a fresh perspective, informed by their diverse experiences across various film-industry fields.

The post 8min of 10 27 Times Cinema – Esmée van Loon – 3rd September appeared first on Fred Film Radio.

The Venice Production Bridge day in 4 minutes!

Welcome to our Venice Production Bridge Daily Snapshot, your quick 4-minute update on the latest happenings at the industry hub of the Venice Film Festival!

Join us as we delve into the world of film financing, co-productions, and market trends, bringing you exclusive insights, interviews with industry professionals, and behind-the-scenes highlights, all packed into a brief but informative segment.

The post The Venice Production Bridge day in 4 minutes – 03/09 appeared first on Fred Film Radio.

Welcome to our daily insights from the 81. Venice International Film Festival, with Angelo Acerbi and Gaetano Maiorino.

Join us as we dive into exclusive interviews with filmmakers, actors, and festival insiders, uncovering the stories behind the most anticipated films.

Stay tuned for festival highlights, red carpet moments, and behind-the-scenes glimpses that you won’t want to miss.

Whether you’re a film buff or just curious, we’ve got all the excitement from Venice right here!

The post Venice Film Festival English Daily – 3rd September appeared first on Fred Film Radio.

Every day from the Venice Lido, Rita Di Santo hosts in the studios of FRED Film Radio several critics from all over the world talking about this year’s Venice festival movies, the actors and actresses attending the festival, as well as takes you into the magical atmosphere of the Venice Film Festival.

The post Highlights and film critics from the 81th Venice Film Festival – episode 3/09 appeared first on Fred Film Radio.

In an illuminating interview, Tan Chui Mui, the director of “I Am the Beauty of Your Beauty, I Am the Fear of Your Fear”, Section Giornate degli Autori, shares the inspiration and personal journey behind her latest short film, part of the Miu Miu Women’s Tales project. This film is the 27th installment in the acclaimed series, which invites innovative female filmmakers to explore the complexities of femininity and vanity in the 21st century.

Set in Malaysia, the film follows Gita, a young woman who has fled China after a tragedy forces her to confront her past. “I wanted to create a space for exploration,” Tan explains. Gita’s journey is not just geographical; it is deeply introspective as she navigates her struggles and learns to fight and reclaim her strength through sisterhood. The pain of her former life lingers, propelling her into an emotional and turbulent struggle. As the narrative unfolds, it becomes evident that Gita’s battle is not only against external challenges but also a profound confrontation with herself and her fears.

Tan‘s choice to set the film against the lush backdrop of Malaysia allows for an exploration of identity and belonging within a culturally rich environment. “In the film, Gita grapples with the complexities of her situation while surrounded by a community that empowers her,” Tan explains, highlighting themes of sisterhood and support that resonate throughout the story. The camaraderie among the women serves as a lifeline for Gita, providing her with the physical and emotional strength needed to face her internal battles.

The film delves into the concept of “self-defense” and what it means for women today. Tan articulates, “Through Gita’s journey and her interactions, I aim to explore the transformative power arising from struggle.” At one pivotal moment, Gita has a conversation with an Indian flower seller who introduces her to the myth of Kali, the goddess of time, destruction, and transformation. “By grappling with our deepest fears, we often uncover our intrinsic strength and beauty,” Tan emphasizes, capturing the essence of both the character’s and the film’s philosophy.

As “I Am the Beauty of Your Beauty, I Am the Fear of Your Fear” navigates the themes of emotional vulnerability and empowerment, Tan skillfully intersects the personal with the mythical. The storytelling is layered with symbolism, emphasizing that the quest for self-discovery is both a personal and universal journey. “This film reflects the perpetual struggle women face; it embodies the idea that finding one’s identity is at the core of personal strength,” she shares.

Tan reflects on her experiences as a filmmaker and how her cultural background shapes her perspective. Growing up with a passion for storytelling, she draws upon her heritage to craft narratives that resonate on a broader scale. Miu Miu Women’s Tales provides a platform for her to critically engage with femininity, challenging stereotypes and broader societal narratives. “I hope that through Gita’s journey, audiences can see the complexities of identity and the multifaceted nature of love and resilience,” Tan expresses passionately.

The film’s visual composition plays a crucial role in underscoring the themes of isolation and connection. Tan employs rich cinematography that captures contrasting landscapes, immersing the audience in Gita’s emotional journey. These cinematographic choices not only enhance the film’s aesthetic quality but also deepen the audience’s emotional connection with the characters.

In conclusion, “I Am the Beauty of Your Beauty, I Am the Fear of Your Fear” stands as a poignant exploration of identity, femininity, and strength in the face of adversity. Through Tan Chui Mui‘s deft direction, the film encapsulates the struggles and triumphs faced by women in their pursuit of self-acceptance and empowerment, inviting viewers to reflect on their own experiences.

The post “I am the beauty of your beauty, I am the fear of your fear,” interview with Tan Chui Mui appeared first on Fred Film Radio.

In a thought-provoking interview, Elizabeth Lo, the director of “Mistress Dispeller”, Orizzonti section, offers her insights into the film, which intimately examines lives entangled in marital infidelity. The film follows Wang Zhenxi, a professional “mistress dispeller” in China, who helps couples preserve their marriages by ending extramarital affairs. Lo’s storytelling takes the audience on a gripping journey filled with emotion, pragmatism, and cultural nuances, exploring the dynamics of a love triangle.

The concept for the film originated from Lo‘s observations of relationships and the roles people play within them. “I’ve always loved love stories. Growing up in Hong Kong, the romance section of the movie rental store always captivated me,” she explains. However, her own experiences of love—marked by sacrifice and unspoken duties—differed significantly from the idealized visions seen in films. By focusing on infidelity, she sought to portray genuine emotions and the intricate realities behind romantic relationships.

Lo sheds light on the emergence of the mistress-dispelling profession, which has gained popularity in response to rising rates of infidelity in modern China. “This industry allows women to infiltrate the lives of mistresses, often without those involved realizing the full extent of the situation,” she reveals. “For a fee, these professionals are hired to gain the mistresses’ confidence and influence them to end the affair willingly.” This unique perspective explores not only the nuances of human connection in intimate relationships but also highlights the societal pressures surrounding fidelity.

Throughout the film, Lo captures the unfolding drama from multiple perspectives, shifting sympathies between the husband, wife, and mistress. “I aimed to create a Rashomon-inspired narrative where each character’s perspective influences the audience’s understanding of the unfolding events,” she states. This layered storytelling allows viewers to empathize with each character’s motivations and struggles, creating a rich emotional tapestry.

The director’s commitment to authenticity is evident in the production process, where she faced several challenges in documenting a real mistress-dispelling case. “Establishing trust with our subjects was paramount,” Lo notes. She and her team meticulously built relationships with Teacher Wang and her associates to ensure the documentary captured genuine interactions and emotional exchanges. The artistic tension in the film is heightened by the ethical considerations of filming individuals navigating personal crises, allowing the audience to witness vulnerable moments leading to crucial revelations.

One of the film’s pivotal themes revolves around the complexity of love and its many forms. “While many may view love through a traditional lens, it is essential to explore the varying dynamics and emotional turmoil that accompany it,” Lo states. “Each character’s experience reflects the societal and personal intricacies that influence their decisions.”

Lo expertly weaves the soundtrack and visual elements of the film to enhance its emotional depth. “We chose music that spans across genres, from Puccini to contemporary indie, to express the complex nature of relationships and the push and pull between connection and isolation,” she explains. The cinematography also plays a crucial role in telling the story, using intimate shots that invite the viewer into the characters’ emotional landscapes.

As “Mistress Dispeller” prepares for its world premiere, Lo emphasizes her goal of bridging cultural divides through storytelling. “In an era of polarization between the U.S. and China, I want to create narratives that foster understanding,” she states passionately. By uncovering universal experiences of love and betrayal, she hopes to spark dialogue that resonates with viewers around the world.

In conclusion, “Mistress Dispeller” is a film that courageously explores the complexities of love, fidelity, and the human condition. Elizabeth Lo’s sensitive direction and keen understanding of the emotional intricacies at play create a powerful narrative that invites reflection on the nature of relationships in contemporary society.

The post “Mistress Dispeller,” interview with Director Elizabeth Lo appeared first on Fred Film Radio.