FRED Film Radio - English Channel

PODCAST | Il Daily Show firmato FRED Film Radio direttamente dalla 77esima edizione del Festival Internazionale del Cinema di Cannes, in replica alle ore 12.00 e 17.00 sul canale Entertainment e alle ore 14.00 e 16.00 sul canale Italiano, per parlare degli eventi e delle curiosità del Festival, insieme a Chiara Nicoletti e Giulia Bianconi. Da non perdere! 

The post Film e curiosità dal Festival di Cannes, Puntata Del 23/05 appeared first on Fred Film Radio.

PODCAST | Il Daily Show firmato FRED Film Radio direttamente dalla 77esima edizione del Festival Internazionale del Cinema di Cannes, in replica alle ore 12.00 e 17.00 sul canale Entertainment e alle ore 14.00 e 16.00 sul canale Italiano, per parlare degli eventi e delle curiosità del Festival, insieme a Chiara Nicoletti e Giulia Bianconi. Da non perdere! 

The post Film e curiosità dal Festival di Cannes, Puntata Del 22/05 appeared first on Fred Film Radio.

Rúnar Rúnarsson opens the Un Certain Regard section of the 77th Cannes Film Festival with his new film “When the light breaks“. Set over one day, from one sunset to another, the film follows Una (Elín Hall) bonding with another girl, Klara (Katla Njálsdóttir) while grieving for the loss of a friend.

Through this story, Rúnar Rúnarsson explores the different ways people grieves and how there’s no better way or right way.

The key for the film and the multiple themes it explores is actress Elín Hall, who “has the talent of transmitting the unsaid things”.

The post “When the light breaks”, interview with director Rúnar Rúnarsson appeared first on Fred Film Radio.

After six years from “Ash Is Purest White“, screening in competition at the 71st Cannes Film Festival, Chinese director Jia Zhang-Ke is back competing for the Palme d’Or with “Caught by the tides” at Cannes 77.

The film captures two decades in Chinese city of Datong thanks to some early footage the director shot in 2001, blended with scenes shot in 2023.

“Caught by the tides” tells the story of Qiaoqiao (Zhao Tao), a native of the city of Datong who embarks on a journey across the country only to achieve the final closure with soon to be ex boyfriend, Brother Bin.

To quote Jia Zhang-Ke’s words in his director notes: “I gave the generation shown in the film a name when I chose the Chinese title: the literal meaning of Fengliu Yidai might be “A Drifting Generation”, but the term Fengliu (literally, “Wind and Waves”) has a strong romantic connotation. The camera has captured things we thought we’d forgotten, but they are the things which made us what we are today.”

The post “Caught by the tides” , interview with director Jia Zhang-Ke appeared first on Fred Film Radio.

Belgian director Leonardo Van Dijl tells us more about his beautifully shot, sensitive and caring first feature film “Julie Keeps Quiet”, which premiered at the Critics’ Week.

“Through the character of my short film Stephanie, which was a gymnist, I began to understand how the world is educating girls, how they treat girls and approach even psychology. (When I chose to focus on a girl who wants to excel at her sport), people asked: why?. Well, she wants to be a good gymnist, she’s a perfectionnist. No, but really, why?. There is no reason. Maybe you should write a suppressive mother who is forcing her, or maybe it’s a story about jealousy, where she wants to be like that other girl she looks up to. But she just wants to be good at what she does, like I want to be a good director. I really find that so bizarre.”

“When there’s immense pressure on you, on so many levels, you need to keep up, you need to stay focused, you go into survival mode. It’s not a healthy space to be in, so for me it was important to, little by little, get her out of this survival mode and bring her back to the centre, where she allows herself to be what she wants to be.”

On the beautiful cinematography, the framing, the lighting: “To begin with, we shot on film, which was kind of a risk and everybody called us crazy, because we didn’t have much budget, so to put that budget into shooting on celluloid was kind of a battle, but me and the DoP Nicolas Karakatsanis felt it was important, because we felt we could not take the silence of Julie for granted. It was like everything should be a deliberate choice, it should be there for a reason. It should only be there if we need it, so we tried to edit it, already on the set. We really worked with the light: in the beginning, there is winter, and then the sun starts shining and things start melting, and Julie is finding her agency again. For the framing, it thought: this movie should be incredibly beautiful, but I tried to hide the beauty, in a way… because it can also create distance, if things are beautiful just for the sake of being beautiful, so I really tried to care, and to be generous for Julie, because she needs it, so I tried to surround her with secret codes, which were a way of saying: Julie, I love you.”

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Torino Film Lab has presented the new born ComedyLab, first international workshop in Europe dedicated entirely to the comedy film genre and organised by the National Cinema Museum’s TorinoFilmLab with the support of Creative Europe – MEDIA Subprogram of the European Union. We talked with Savina Neirotti, educational consultant, and Alec Von Bargen, Head of Studies of the Lab.

Savina Neirotti and Alec Von Bargen explain the reason for the birth of such a specific Lab. Comedy has always been underestimated, considered a minor genre, less artistic or noble. But this is far from truth, and they are here to prove the difficulties and the expertise needed to write a solid good comedy film.

Comedy has its rules and specific features and a Lab about comedy writing needs to adapt to this. So not only writing sessions, but a lot of improvisations with actors and writers together, to build the perfect connection.

The post Comedylab, interview with educational consultant Savina Neirotti and Head of Studies Alec Von Bargen appeared first on Fred Film Radio.

In competition at the 56th edition of the Quinzaine des cinéastes, “The Hyperboreans“, the new film of the Chilean artistic duo Cristóbal León and Joaquín Cociña.

“The Hyperboreans“is not like any other film. It delves into history, politics, cinema, and the process of movie-making. The movie takes us into the imaginative world of directors Cristóbal León and Joaquín Cociña. The story revolves around actress and psychologist Antonia Giesen, who decides to film a script that was revealed by a voice inside the mind of one of her patients. Seeking collaboration with directors León & Cociña, the film becomes a blend of theatre, science fiction, animation, and fascinating biopics, filled with parallel worlds and haunted by the spectre of a Chilean Nazi writer as a demonic figure.

The two Chilean directors also play a role in this very bizarre film of theirs by impersonating themselves in a very unique way. “We thought it was funny to include us!” León & Cociña revealed, “We always start our films with an absurd, stupid idea, so why not?”

The Nazi spectre that tells his story is Miguel Serrano, a controversial figure in Chilean history: a diplomat, writer, occultist, and fascist activist. Serrano became a prominent figure in the neo-Nazi movement as an exponent of Esoteric Hitlerism.

But why add this figure to the film? “We’re fascinated by characters that are hard to define,” Joaquin Cocina tells us. “Serrano had met Jung, Hesse, he was fascinated by cinema and was an intellectual, but above all, he is a character about whom little is known… I don’t know, I always thought that a film about Hitler’s nanny would be more interesting than about Hitler.”

“The Hyperboreans“is an extraordinary cinematic experience that transcends traditional filmmaking. Through a bold combination of live-action, stop-motion, and puppetry, this ambitious psychodrama delves into the controversial ideas of the right-wing Chilean thinker Miguel Serrano. With a captivating blend of Chilean history, occultism, right-wing conspiracy theories, Jungian psychology, and silent film techniques, directors Cristobal Leon and Joaquin Cocina showcase their unparalleled mastery of the craft. The film is a thought-provoking journey that challenges and captivates audiences in equal measure.

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As jury president of Rivera International Film Festival 2024, the director Andrew Dominik (“The Assassination of Jesse James by the Coward Robert Ford”, “Blonde”) tells us what “power have films to evoke a range of emotions in viewers, from worry to excitement. A good film takes place in the viewer’s mind and stomach, creating a personal and immersive experience“.

For Andrew Dominik, however, the importance of cinema is not the same nowadays as in the past. “Cinema is everywhere. Its golden period was the 70s There were film really vital. Everywhere in the world, cinema was vital. And it’s changed now because it’s become a much bigger business which is currently failing“.

“In the 70s cinema was not a big business, but small – director Andrew Dominik says – And corporations bought movie studios because they wanted to have something cool. They wanted to go to the Oscars or meet actresses or go to good parties, and their real business was like making cars or steel. But then as all those those businesses failed or they moved offshore and they figured out how to release movies on mass, then cinema became a much bigger business. And a corporate mentality was applied to filmmaking, and films became much more risk averse. And I think that it just continued on that path“.

How does streaming influence this situation? “Except for Netflix, it’s not a profitable business – Andrew Dominik replies – But it seems to they seem to be destroying the studio system, which I don’t know if that’s a good thing. There’s a state of flux and nobody really knows where it’s going. And if people did, they’d know what to do“.

The post Interview with the jury president Andrew Dominik appeared first on Fred Film Radio.

Fred Film Radio presents an in-depth conversation with director Kevin Mayuga about his film “When This is All Over” at 26th Far East Film Festival in Udine. As the interviewer, I had the privilege of exploring the creative process behind this thought-provoking exploration of life during the pandemic and its depiction of societal class divides.

Kevin Mayuga‘s presence at the Udine film festival marked his inaugural experience, a sentiment he expressed with genuine gratitude and excitement. His enthusiasm for the festival’s atmosphere set a positive tone for our discussion.

Delving into the thematic depth of “When This is All Over“, I probed Kevin Mayuga about the unique blend of surrealism and reality portrayed in the film. He shared personal insights into his creative process, revealing how his own existential crises during the pandemic sparked the exploration of societal class divisions and the guilt of privilege.

Kevin Mayuga‘s candid reflection on his personal experiences and observations during the pandemic added layers of authenticity to the film’s narrative. His intention to provoke empathy and social awareness among viewers was evident, as he aimed to challenge societal norms and encourage introspection.

Transitioning to discussions about character development and the film’s ending, Kevin Mayuga shed light on the protagonist’s journey, which mirrored his own introspective exploration. Drawing from personal experiences and encounters, he crafted a narrative that resonated with authenticity and emotional depth.

The symbolism behind the protagonist’s journey, particularly his confrontation with his inner child and ego, was a topic of particular interest. Kevin Mayuga‘s interpretation of this symbolic journey as a process of self-discovery and healing added depth to the film’s thematic exploration.

The conversation took an intriguing turn as we discussed parallels between Kevin Mayuga‘s film and other contemporary works, such as Jennifer Lopez’s recent film. Mayuga’s insights into the universal themes of self-discovery and healing resonated with the broader cultural landscape, highlighting the film’s relevance and impact.

In exploring Kevin Mayuga‘s inspirations beyond cinema, his passion for music, particularly house and techno, emerged as a significant influence on the film’s aesthetic and narrative. His eclectic taste in films, ranging from party films of the ’90s to contemporary social commentaries, provided valuable insights into his creative process.

In closing, I expressed gratitude to Kevin Mayuga for sharing his insights and experiences. Our conversation illuminated not only the creative process behind “When This is All Over” but also Kevin Mayuga‘s commitment to storytelling that challenges and inspires audiences. As our discussion concluded, it was evident that Kevin Mayuga‘s unique perspective and creative vision would continue to leave a lasting impact on the world of cinema.

The post “When This is All Over”, Interview with Director Kevin Mayuga appeared first on Fred Film Radio.