FRED Film Radio - English Channel

At the Locarno Film Festival, Fred Film Radio spoke with director Laurynas Bareiša about his film “Drowning Dry”, which is in competition at the festival. The film centres around a family vacation that takes a dark turn after a near-tragic event, exploring themes of trauma and its lingering effects.

“Drowning Dry” draws from Laurynas Bareiša‘s personal experience with his child, who nearly choked in a close call that left a lasting impact. “Even though nothing happened, that ‘nothing’ is still an event,” Bareiša explains. He wanted to delve into how an almost tragedy can subtly yet profoundly alter relationships and self-perception. The film uses this concept to explore how people grapple with the emotional ripples of events that didn’t fully materialize.

The title “Drowning Dry” works on both literal and metaphorical levels. In the film, one of the characters almost drowns, leading to a condition that mirrors the emotional state of the other characters. “It’s a metaphor for relationships,” Laurynas Bareiša says, highlighting how couples and individuals can appear fine on the surface but are silently struggling, “drowning” in their inability to communicate or connect. The metaphor extends to societal issues, such as overconsumption and environmental disregard, illustrating how people continue harmful behaviors despite knowing the consequences.

Laurynas Bareiša is committed to challenging his audience, believing that cinema should provoke thought and evoke new emotions. “You have this one and a half hours with the audience; it’s valuable time,” he notes. His goal is to create a film experience that can’t be easily reduced to simple explanations but instead leaves a lasting impression, even if it’s uncomfortable. He emphasizes the power of cinema to merge narrative, structure, visuals, and sound into something uniquely impactful.

As a Lithuanian filmmaker, Laurynas Bareiša faces challenges in maintaining his cultural identity while reaching an international audience. Originally titled Seses, “sisters” in Lithuanian, the film was renamed“Drowning Dry” for its international release to better convey its layered themes. “Through translation, you lose some things, but you can also gain something,” he explains, acknowledging the complexities of presenting a culturally specific story to a global audience.

Laurynas Bareiša‘s “Drowning Dry” is a thought-provoking exploration of trauma, memory, and the hidden struggles within relationships. By drawing from personal experience and challenging both himself and his audience, Bareiša has crafted a film that resonates on multiple levels, leaving viewers with much to ponder long after the credits roll.

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At the Locarno Film Festival, FRED Film Radio caught up with actress Callie Hernandez and director Courtney Stephens to discuss their film Invention, which is showcased in the Cineasti del Presente section. The film, an experimental fiction piece, delves into the complexities of grief following the loss of a father, blending multiple genres to explore this deeply personal subject.

The idea for Invention began when Hernandez and Stephens decided to collaborate while working in Western Massachusetts. Both had recently lost their fathers, and this shared experience became the foundation for the film. The film evolved from personal archives, particularly those from Callie Hernandez‘s late father, which included strange medical machines and stories that shaped the narrative.

With a small cast and crew, the production process fostered an intimate atmosphere, allowing the team to adapt and respond to the moment. Hernandez describes the experience as “almost like we were all staying in the house, cooking up what we would shoot the next day.” The fluid nature of the project meant that the team often had to rethink their approach on the fly, making editing a crucial part of the storytelling process. This collaborative, improvisational method added a unique texture to the film, blending real-time creativity with the emotional weight of the subject matter.

One of the most significant challenges, according to Hernandez, was balancing the emotional weight of the film with the practical limitations, particularly financial constraints. The lack of resources, however, ultimately contributed to the film’s raw and genuine feel. Courtney Stephens noted that the small budget forced them to be resourceful, leading to a project that is dense and complex, despite its seemingly simple appearance. She reflected on the value of working under these conditions, drawing inspiration from filmmaker Marguerite Duras, who appreciated the challenge of making films that seemed “impossible.”

Both Callie Hernandez and Courtney Stephens found the process of making Invention to be an exploration of not only grief but also filmmaking itself. Stephens, who had primarily worked in nonfiction, discovered new challenges in directing actors and shaping a narrative that was deeply personal yet collaborative. The film became a collective effort, with everyone involved contributing their own experiences and ideas to the final product.

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FRED Film Radio had the pleasure of speaking with director Ben Rivers about his latest film Bogancloch, which is competing at the Locarno Film Festival.

Ben Rivers describes Bogancloch as a film set in the Scottish Highlands centred around his friend Jake Williams, who lives in the midst of a vast forest. The film spans a year in Jake’s life, blending different levels of reality to explore his existence in a remote and unspoiled environment.

This is not Ben Rivers‘ first film about Jake. He explains that his continued interest in Jake’s way of life and the changes over the past decade compelled him to create another film. “I still find his life very fascinating, and I felt like there was more to do there, more to see and hear,” Rivers says, noting the allure of Jake’s unique lifestyle.

Ben Rivers‘ approach to filmmaking is unconventional, blending reality with fictional elements. He emphasizes that Bogancloch is not a traditional documentary: “I’m not interested in telling people facts about his life or any backstory. It’s more open for the audience to think about why he’s there and what his past was.”

Every scene in the film was carefully set up and rehearsed, making it a collaborative effort between Rivers and Jake, which blurs the line between observer and participant.

The filming process was as unique as the film itself. Ben Rivers visited Jake five times over a year, with some days dedicated to intense shooting and others spent walking, thinking, and planning. “It’s not a normal film shoot. It’s a bit more relaxed,” he explains.

Despite the challenges of harsh weather and Jake’s lack of modern conveniences, Rivers found the experience rewarding. “When I look at the footage and see that it was worth freezing and getting soaking wet… that’s very rewarding,” he shares.

Over the years, Jake has taught Rivers the value of living a life with minimal impact on the world. Reflecting on what he’s learned from Jake, Ben Rivers concludes, “It’s about trying to live a life that has less impact on the world and as little harm to other people, animals, and plants as possible.”

Bogancloch is a film that challenges conventional documentary filmmaking, offering audiences a chance to immerse themselves in a world that is as much about feelings and imagination as it is about the subject’s reality. Rivers’ thoughtful approach to the film, combined with his deep connection to Jake, creates a cinematic experience that invites reflection and introspection.

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At the Locarno Film Festival, FRED Film Radio interviewed Irish director Aislinn Clarke about her film Fréwaka, showcased Out of Competition. The film, a deeply Irish horror story, explores generational trauma through the lens of folklore and superstition, set against the eerie backdrop of the Irish countryside.

Aislinn Clarke’s passion for horror is evident in Fréwaka. Raised on a steady diet of horror films, she finds the genre comforting and a way to channel anxiety. “Horror films have rules, and we understand they’re not real,” she explains, viewing them as a controlled escape from the chaos of the world. For Clarke, horror is a universal genre that resonates with audiences everywhere, despite cultural differences.

Fréwaka delves into Ireland’s dark history, particularly its unspoken traumas passed down through generations. Aislinn Clarke sees horror as a tool to confront social issues in a non-confrontational way, allowing audiences to engage with difficult topics through the safety of narrative. The film draws heavily on Irish myths, particularly the Na Sí, malevolent fairy folk from Irish folklore. “They’re not cute like Tinkerbell; they’re vengeful and brutal,” Clarke notes, making them the perfect vehicle to explore the deep-seated traumas of Irish history.

While Aislinn Clarke didn’t consciously model Fréwaka after specific films, she acknowledges the influence of folk horror classics like The Wicker Man. The rural Irish setting plays a crucial role in the film, with the main location—a previously unused period house on the border of Northern and Southern Ireland—adding to the film’s unsettling atmosphere. Clarke describes finding the house as a moment of “fate,” perfectly aligning with the film’s themes.

Fréwaka focuses on female characters, a deliberate choice by Clarke to highlight the unique traumas faced by Irish women. Despite the small pool of fluent Irish-speaking actresses, Clarke found the perfect cast to bring her vision to life. The film, shot entirely in Irish, was a natural fit for Clarke, who wanted to use the language to explore the cultural and historical weight carried by Irish women.

Aislinn Clarke hopes Fréwaka resonates with audiences beyond its Irish roots, believing that horror’s universal appeal will allow viewers from all cultures to connect with the film. While she’s not exclusively a horror director, Clarke’s love for the genre and its ability to address dark, complex themes suggests that her future projects will continue to explore the shadows of the human experience.

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At the Locarno Film Festival, FRED Film Radio interviewed director César Díaz and actress Bérénice Bejo about their film Mexico 86, featured in the Piazza Grande section. This film tells the story of a revolutionary woman who, after fleeing Guatemala, reunites with her son in Mexico ten years later. Together, they navigate their strained relationship amidst the backdrop of political unrest.

Mexico 86 is deeply rooted in César Díaz‘s personal experiences, particularly his relationship with his mother. “I wanted to explore motherhood and the mother-son relationship,” Díaz explains, noting the challenge of merging an intimate family story with broader political themes. The film also addresses the struggle against dictatorship, a subject close to Díaz’s heart.

For Bérénice Bejo, playing María—a character inspired by Díaz’s mother—was challenging, especially due to the language barrier and the complexity of the role. “The first challenge was the language,” Bejo says, adding that working with a child actor also required patience and adaptability. Despite these hurdles, she found a deep connection with her character, attributing it to the trust and collaboration she shared with Díaz. “I didn’t even try to play his mother—it just happened naturally,” she recalls.

César Díaz faced the challenge of directing a film so close to his own life. “Sometimes I was very moved, but I had to remember that it’s not because I was moved that the audience will be,” he reflects. He worked closely with the actors to create a space where they could fully embrace their characters. The film also explores the legacy of motherhood, with María’s relationship with her own mother influencing her as a mother to Marco.

The making of Mexico 86 was a challenging yet rewarding experience for Díaz and Bejo. “We were far away from our country, our family, so every day we had to do our best,” Bejo says. Despite the difficulties, their collaboration resulted in a film they are deeply proud of.

Mexico 86 is a powerful narrative that explores motherhood, revolution, and the impact of the past on the present. Through their collaboration, César Díaz and Bérénice Bejo have created a film that challenges audiences to reflect on both historical and contemporary struggles.

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At the Locarno Film Festival, we had the opportunity to speak with Lotfi Achour, director of Red Path (Les Enfants Rouges), a film competing in the Cineasti del Presente section. The film, inspired by a tragic real-life event, delves into the psychological and emotional journey of a young boy facing unimaginable trauma.

Red Path draws inspiration from a harrowing event in Tunisia in 2015, where jihadist groups attacked two adolescent shepherds, resulting in the death of one and the other being forced to carry his head back to his family. Lotfi Achour describes the film as not merely a recounting of terrorism but a deep exploration of the young boy’s inner world. “The film is not about terrorism; it’s about the inner journey of this 14-year-old child and how he has to refer to all the mechanisms of childhood, psychological, and dreamy, to face this tragedy and survive it,” he explains.

Lotfi Achour was profoundly moved by the real-life event, which he felt was more than just a crime—it was a national trauma. “The crime is quite odious, not an ordinary crime, especially because it involved children,” he says. He highlights that this event was unprecedented in Tunisia, where such violence against children was unheard of. “The nature of the crime, asking a child to carry a head in a bag, almost refers to mythological figures,” Achour reflects. He believes this crime became a collective trauma, deeply affecting the Tunisian national consciousness.

The film’s dreamlike quality is central to its narrative approach. Lotfi Achour and his team aimed to blend realism with dreamlike elements to reflect the boy’s psychological state. “We wanted it to be the simplest possible and most natural possible… there are sequences that were realistic and then which became, as the writing went on, they shifted into a form of nihilism,” Achour describes.

Achour’s approach to working with the young actor was meticulous and compassionate. He invested nearly a year in preparation, including workshops and dialect training, to ensure the actor could connect with the role authentically. “The main actor, at 13 years old, lived very close to the reality depicted in the film… he had personal experiences that mirrored the film’s themes,” Lotfi Achour notes. Despite the intense demands of the role, Achour praises the actor’s professionalism and resilience. “He shot 41 days out of 42, 12 hours a day… he was very overwhelmed emotionally but managed to handle the role with great maturity.”

As Red Path competes in the Cineasti del Presente section, Lotfi Achour hopes it will resonate on a global scale. He reflects on the film’s release amid ongoing global conflicts, particularly the plight of children in Gaza. “I hope that my film will be a small drop of water to draw attention to violence against children,” Achour says. He expresses a desire for the film to contribute to discussions about the broader implications of such violence, emphasizing that “when we attack children, it’s a whole generation that will be lost.”

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Fred Film Radio sat with Mar Coll, the visionary director behind Salve Maria, a psychological thriller that competes at this year’s Locarno Film Festival. The film dives deep into the complexities of motherhood, examining the darker emotions that often go unspoken.

Salve Maria centers on a young mother, a writer, struggling to bond with her newborn. Her life takes a disturbing turn when she becomes obsessed with a nearby infanticide case, fearing she might succumb to similar thoughts. Mar Coll explains that the film, co-written with her close friend and fellow mother, aims to expose the darker aspects of motherhood that are rarely discussed, capturing the ambivalence that accompanies this life-changing experience, there is “always a little bit of darkness when you become a mother, and that’s what’s interesting because it’s not often said.”

While Salve Maria is an adaptation of a novel, Mar Coll reveals that her personal experiences as a mother deeply influenced the film.  Salve Maria offers an honest portrayal of the loneliness and fear that can accompany new motherhood but also leaves room for hope. “We wanted to communicate emotions that have been in our experience,” she adds, noting that the ambivalence of motherhood—its mix of good feelings, love, and attachment alongside darker emotions—was a central theme in the film.

Coll chose the psychological thriller genre to tell Maria’s story, recognizing its perfect fit for the visceral, irrational journey of early motherhood. “Motherhood at the beginning has all this irrational journey for the mother… it’s so visceral and physical,” she explains. The genre allowed Coll to explore the intense physicality of pregnancy and breastfeeding, as well as the overwhelming fear and guilt that can arise.

Salve Maria‘s setting plays a crucial role in conveying Maria’s emotional state. The claustrophobic, dark house where much of the film takes place symbolizes her sense of entrapment and isolation. “The characters feel trapped in this place that is small,” Mar Coll explains, noting that they even made adjustments to the set to enhance this feeling, such as building additional walls and reducing the size of windows. As the story progresses, the open landscapes reflect Maria’s internal struggle as she confronts her darker impulses, moving towards a more primal connection with nature.

 Mar Coll opted to shoot Salve Maria on 35mm film to create a delicate, sensitive, and visually stunning narrative. This choice enhances the film’s immersive quality, helping viewers empathize with a character who struggles with unsettling emotions. “I wanted the film to be moving, delicate, and sensitive, and also beautiful,” she explains.

Coll hopes that Salve Maria will be an immersive experience for viewers, drawing them into the emotional journey of its protagonist. “At first, I don’t want them to think—just to get into the film,” she says, emphasizing the importance of the emotional experience. She acknowledges that the film’s ending is controversial and may provoke debate, particularly around societal expectations of motherhood and what is considered “normal.” “The ending is a little bit scandalous because of what is normal and what is not,” Mar Coll remarks, noting that the film is already sparking conversations about these themes. Ultimately, she hopes the film will inspire discussions that challenge conventional perceptions of motherhood and its complexities.

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At the Locarno Film Festival, Stacey Sher, a renowned producer behind iconic films like Pulp Fiction and Erin Brockovich, received the prestigious Raimondo Rezzonico Award. In an insightful interview, Sher reflects on her illustrious career, the changing film industry, and the future of cinema.

Stacey Sher’s early works, including Pulp Fiction and Get Shorty, played a pivotal role in shaping American cinema in the 90s. “It was fun,” she recalls of the time, though she admits, “neither of those movies were particularly easy to get made. We weren’t expecting to still be talking about them now.”

Stacey Sher also produced generational touchstones like Reality Bites and Garden State, both of which resonated deeply with their audiences. Reflecting on Reality Bites, Sher shares how the project evolved, noting, “It originally grew from a story idea—a ‘Big Chill’ for people in their 20s.” She credits Ben Stiller’s directorial debut with crystallizing the story, particularly when he decided to make his character a peer of the others rather than an older figure.

For Garden State, Sher highlights how the project was championed by Pam Abdy, then-president of Jersey Films. “Pam said, ‘This is my life. This is me.’ Our philosophy was to trust each other’s taste and back each other,” Stacey Sher explains, showcasing the collaborative spirit that defined her work.

Sher has a knack for identifying and nurturing talent, having worked with first-time directors like Ben Stiller and Zach Braff. “If you choose well, a directorial debut is fun, exciting, and collaborative,” she says. Sher emphasizes the importance of supporting filmmakers as they find their voice, noting that both Stiller and Braff had honed their craft through previous work, making them ready for the challenges of directing.

Throughout her career, Stacey Sher has produced a wide range of films, from Pulp Fiction by Quentin Tarantino to Out of Sight by Steven Soderbergh. When asked if there’s a common thread in her work, she reflects, “I’ve made very intuitive decisions based on what I love, which is informed by the films and filmmakers I grew up loving.” Sher’s intuitive approach and deep love for cinema have resulted in a body of work that continues to impact the industry.

As one of the industry’s leading female producers, Sher has witnessed significant changes in the role of women in film. “There are definitely more of us now,” she observes, pointing to the increasing number of female executives in the industry. This shift reflects broader changes in an industry that has traditionally been male-dominated.

Stacey Sher remains optimistic about the future of cinema, even as digital media and streaming services reshape the industry. “Contrary to all the obituaries that were written for the cinema, it still seems to be healthy,” she asserts. Sher believes that audiences still enjoy the theater experience, and that cinema will continue to evolve, accommodating both large-format spectacles and more intimate films.

When asked what advice she would give to her younger self, just starting out in the industry, Sher’s response is succinct and powerful: “Get over the need to be liked.” This advice reflects the resilience and confidence that have driven her successful career, and maybe it’s a great reminder for all of us, especially nowadays.

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At the Locarno Film Festival, we caught up with Christoph Hochhäusler, the director of “La Mort viendra (Death Will Come)“, which is in the running in the International Competition. In this gripping gangster thriller, Christoph Hochhäusler takes us on a dark journey through Brussels, where power, mortality, and vengeance intersect in unexpected ways.

The inspiration for “Death Will Come”, Christoph Hochhäusler reveals, began with the city of Brussels itself. “I didn’t know the city until very recently,” he explains. “I was invited to go there, and I fell in love with its contrasts—the violence and beauty of this very particular town. It’s a place that’s not filmed enough, and that immediately sparked the idea of a gangster film.”

Christoph Hochhäusler’s approach to location scouting involved immersing himself in the city alongside his production designer. Together, they walked through Brussels, exploring its streets and discovering hidden, underused locations. This hands-on exploration allowed the city itself to become a vital character in the film.

Christoph Hochhäusler dives into the development of his main characters, especially Charles Mahr, who grapples with power and mortality. “One influence was my own brush with mortality,” he admits, referencing a personal health scare. “That experience, combined with my observations of powerful men’s fear of weakness, fed into Charles’ character. There’s a vanity in men that death humbles, which is a theme I wanted to explore.”

Christoph Hochhäusler explains, “We wanted her to be the opposite of Charles—an angel of death, yet a woman who is very much alive and believable. Sophie Verbeeck brought this complex, enigmatic character to life in a way that really surprised and excited me.”

When asked about his influences, Christoph Hochhäusler cites a rich tapestry of films and directors, including Jean-Pierre Melville’s “Le Samouraï” and “Army of Shadows“, as well as Italian cinema, ranging from Visconti to Damiani. Although these films significantly informed the tone and style of “Death Will Come“, Hochhäusler nevertheless aimed to create a film that stands on its own.

Without giving too much away, “Death Will Come” leaves its ending open to interpretation. The film encourages viewers to reflect on its themes long after the credits roll. Hochhäusler hopes the film prompts audiences to consider what might come after the era of powerful patriarchal figures, offering a rich subject for contemplation rather than a straightforward message.

“Death Will Come” is an exploration of power, mortality, and the unique atmosphere of Brussels, all brought together by Christoph Hochhäusler’s deft direction.

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At this year’s Locarno Film Festival, we sat down with Edgar Pêra, the innovative director behind “Telepathic Letters“. The film, screening Out of Competition, delves into the intricate worlds of H.P. Lovecraft and Fernando Pessoa, two of the most enigmatic literary figures of the 20th century. Through a groundbreaking use of AI-generated imagery, Pêra weaves a narrative that bridges their distinct philosophies, creating a unique cinematic experience.

Edgar Pêra began our conversation by tracing the origins of “Telepathic Letters“. “I’ve worked with the texts of Lovecraft and Pessoa before,” he explained, “and I always found connections between their thoughts on humanity. Initially, this film was meant to be a continuation of The Nothingness Club, but with the advent of AI, I saw an opportunity to create something truly unique.” By leveraging AI, Edgar Pêra could construct fantastical elements without the constraints of a traditional budget, allowing him to craft a specific universe that intertwines these two literary giants.

Edgar Pêra is candid about his embrace of AI, seeing it as a boon for filmmakers working with limited resources. “AI offers low-budget filmmakers the ability to create monsters, landscapes, and entire worlds,” he enthuses. “The process became so fluid that I was constantly generating new images, even in the final stages of editing. It’s like creating archives from the future, based on the past but reimagined in ways that never existed.”

In his typically provocative style, Edgar Pêra reflects on the nature of AI, dubbing it “artificial stupidity” rather than artificial intelligence. “We’re dealing with human-made databases, so it’s all human, not truly artificial,” he argues. “What fascinates me is this process of recombining elements to create something entirely new, something that feels like a forgotten piece of history.”

The visual style of “Telepathic Letters“is distinct, partly because of Pêra’s approach to taming the AI algorithms. “I wanted to avoid the generic look of AI-generated images—the purples and blues reminiscent of Shrek or Avatar. Instead, I guided the algorithm to create something different, something more in tune with the eerie, otherworldly essence of Lovecraft and Pessoa.”

When asked how Lovecraft and Pessoa might view our modern world and the rise of AI, Pêra offers a thoughtful response. “They were both innovators in their time, wary of novelty but also creators of it. While it’s impossible to say for sure, I believe they would be intrigued, if not entirely accepting, of how their works are being reimagined today.”

As for audience reactions to his “Telepathic Letters“, Edgar Pêra remains cautiously optimistic. “I’m always surprised when people like my movies,” he admits with a smile. “But the feedback so far has been incredible, and people who already saw it come to me and say, Oh, this is a very unique film.”

Telepathic Letters” is a confirmation of Edgar Pêra’s relentless creativity and his ability to push the boundaries of filmmaking. By blending the literary legacies of Lovecraft and Pessoa with cutting-edge AI technology, Edgar Pêra has crafted a film that not only honours these two literary giants but also explores new cinematic frontiers.

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