FRED Film Radio - English Channel

At the 26th Far East Film Festival in Udine, I had the privilege of engaging in an insightful conversation with director Tony Bui about his film “Three Seasons“. Throughout our dialogue, Tony Bui provided deep reflections on the intricate process of creativity, the challenges and triumphs of film restoration, and his unwavering dedication to storytelling.

As our conversation unfolded, I delved into the symbolism behind the title “Three Seasons“, prompting Tony Bui to expound upon the nuanced layers of meaning embedded within. His elucidation of Vietnam’s seasonal transitions as metaphors for renewal and hope provided a poignant insight into the thematic richness of his work.

Tony Bui‘s candid reflections on the arduous journey of restoring the film after a quarter-century resonated deeply. His admission of initially seeing the film through a critical lens, clouded by perceived imperfections, before rediscovering its beauty and significance during the restoration process, offered a profound testament to the transformative power of revisiting one’s own work.

Transitioning to discussions on audience reception and the enduring relevance of “Three Seasons“, Tony Bui‘s gratitude for the film’s resonance across time and cultures was palpable. His emphasis on the universal power of storytelling to transcend barriers and evoke genuine emotion underscored the timeless appeal of cinema as a medium of artistic expression.

As we delved into Bui’s upcoming project centered on the iconic “Napalm Girl” photograph, his passion for storytelling and commitment to shedding light on impactful narratives became evident. His unwavering dedication to exploring the human stories behind historical events spoke volumes about his role as a filmmaker with a profound sense of purpose.

In exploring inspirations beyond the realm of cinema, Tony Bui‘s reverence for the vibrant intellectual community at Columbia University, where he currently teaches, was evident. His interactions with esteemed colleagues and bright students served as a wellspring of inspiration, fueling his creative endeavors and enriching his perspective on storytelling.

In closing, I expressed heartfelt gratitude to Tony Bui for generously sharing his insights and experiences. Our dialogue illuminated not only the creative process behind “Three Seasons” but also Bui’s unwavering commitment to crafting stories that resonate deeply with audiences across generations. As the conversation drew to a close, it was evident that Bui’s passion for storytelling and his belief in the transformative power of cinema would continue to inspire audiences for years to come.

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At the 26th edition of the Far East Film Festival in Udine, Fred Film Radio, had the opportunity to interview Félix Chong, the director of “The Goldfinger.” The conversation started with a light-hearted question about Monty Python, revealing Félix Chong‘s admiration for the comedy group and his inclination towards injecting humor into his films. I then delved into the significance of reuniting Tony Leung and Andy Lau after 21 years, prompting Chong to emphasize the suitability of their roles in “The Goldfinger” and the evolution of their acting prowess over the years.

Transitioning to the character development in the film, I probed Félix Chong about his decision to portray Henry Shin as an enigmatic figure, drawing parallels to real-life events such as the downfall of the Carian Group in 1983. Félix Chong explained the meticulous process of character creation, highlighting the collaborative efforts between himself, Tony Leung, and the production team to bring Eric Cheen to life on screen.

As the conversation progressed, I explored Félix Chong‘s working relationship with the seasoned actors, Leung and Lau. Félix Chong described the demanding yet rewarding nature of collaborating with such professional talents, likening them to high-performance vehicles that accelerate with every challenge. He also shared insights into Tony Leung‘s transformation into his character, emphasizing the emotional depth required to drive his performance.

Reflecting on pivotal moments in his career, Chong credited “Infernal Affairs” as a defining milestone that allowed him to carve out his creative space as a screenwriter-turned-director. He expressed gratitude for the success of the film, which validated his innovative approach to storytelling and marked a significant achievement in his professional journey.

In conclusion, I thanked Félix Chong for the insightful conversation, highlighting his contributions as the director of “Goldfinger” and acknowledging the depth of his cinematic vision. Through our dialogue, audiences gained valuable insights into Félix Chong‘s creative process, collaborative ethos, and the transformative power of filmmaking.

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Fred Film Radio reporting from the 26th edition of the Far East Film Festival in Udine. Today, I had the pleasure of speaking with Adrian Teh, the director of “Reversi,” along with actors Beto Usyairy and Shiquin Kamal. This festival, renowned for its celebration of Asian cinema, has brought together filmmakers and enthusiasts from across the globe, and it’s a privilege to be part of it.

Adrian Teh expressed his delight at being back in Udine, a town he holds dear, and extended his congratulations to the festival organizers. Shiquin Kamal shared her excitement at participating in her first film festival and praised the charm of Udine. Beto Usyairy echoed their sentiments, emphasizing the warm reception they received from the locals and expressing his gratitude for the opportunity to be part of an international event.

Turning to the film itself, I was struck by its departure from the directors’ previous works and its exploration of complex themes such as time travel. Adrian Teh revealed his longstanding fascination with sci-fi and time-travel narratives, which served as the inspiration for “Reversi.” He emphasized his desire to offer a fresh perspective on the genre by introducing the concept of irreversible consequences for time travelers, a departure from the typical portrayal of consequence-free time travel.

Shiquin Kamal shared her initial reservations about taking on her character, citing its emotional weight and complexity. However, she praised Adrian Teh’s persuasive abilities and expressed her satisfaction with her performance. Beto Usyairy echoed her sentiments, describing his experience as an honor and emphasizing the collaborative effort behind the film.

In discussing the film’s title, “Reversi,” Adrian Teh offered insight into its significance, highlighting its thematic resonance with the narrative’s central message of enduring love. He expressed his hope that the film’s title would evoke the idea of irreversible love amidst the backdrop of time manipulation.

I also had the opportunity to discuss the film’s selection as the sole Malaysian entry at the festival. Adrian Teh expressed his pride and gratitude for the recognition, underscoring the significance of representing Malaysian cinema on the international stage.

In conclusion, it’s clear that “Reversi” represents a significant departure for Adrian Teh, exploring new thematic territory while maintaining his signature storytelling style. The film’s selection at the Far East Film Festival is a testament to its quality and relevance, and I look forward to seeing its reception by audiences worldwide. This is Laura Della Corte signing off from the Far East Film Festival in Udine.

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Fred Film Radio presents an exclusive interview from the 26th edition of the Far East Film Festival in Udine. Today, I had the honor of sitting down with Chiu Fusheng, the producer behind the renowned film “Raise the red lantern“, alongside the esteemed director Zhang Yimou and chairman Arthur Chew. Our conversation delved into the significant contributions of Chinese cinema, television, and the rich cultural heritage of both Taiwan and China to the global stage.

Chiu Fusheng articulated his vision of merging the cultural roots of Taiwan, China, and Hong Kong, emphasizing the importance of understanding and unity among these regions. He shared insights into his journey of distributing films across borders, advocating for messages of compassion and empathy in storytelling.

Reflecting on the tumultuous historical backdrop of his career, spanning the Vietnam War, Taiwan’s Chiang Ching-kuo era, and China’s reform period, Chiu Fusheng underscored the role of filmmakers in shedding light on societal issues and advocating for peace. He spoke candidly about the collaborative process with acclaimed directors like Zhang Yimou and Johnnie To, prioritizing creative freedom and expression.

Our discussion also explored the evolving landscape of Chinese cinema on the global stage, highlighting the shift towards individualized collaborations and storytelling that resonates with diverse audiences worldwide. Chiu Fusheng expressed optimism about the future of Asian media, citing advancements in technology and the rise of independent platforms.

As our conversation drew to a close, we delved into the transformative power of international collaboration in shaping the future direction of Chinese cinema and media. Chiu Fusheng emphasized the importance of individual expression and the role of festivals like Far East in fostering cultural exchange and understanding.

In closing, I expressed gratitude to Chiu Fusheng for his invaluable insights and contributions to the film industry. His dedication to promoting cross-cultural dialogue and understanding serves as a beacon of hope in an increasingly interconnected world.

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At the 26th edition of the Far East Film Festival in Udine, I had the opportunity to delve into a thought-provoking conversation with Sasha Chuk, the talented director behind “Fly Me to the Moon“. This poignant film tackles a myriad of complex themes, including immigration, poverty, addiction, and family dynamics, all while maintaining a delicate balance of realism and empathy.

Sasha Chuk’s approach to navigating such sensitive topics is deeply rooted in her personal experiences and observations. She revealed that the heart of the film lies in the intricate relationship between the two sisters, particularly their tumultuous connection with their father. This central focus allowed  Sasha Chuk to explore the multifaceted dynamics of family life with nuance and authenticity.

Drawing from her own upbringing as an immigrant who moved to Hong Kong at a young age,  Sasha Chuk infused the film with a sense of authenticity and universality. She wanted to challenge stereotypes and stigma surrounding the immigrant experience, shedding light on the common struggles and triumphs faced by individuals navigating cultural and societal barriers.

The portrayal of drug addiction within the film adds another layer of complexity to the narrative, providing insight into the inner turmoil and external pressures faced by the characters. Sasha Chuk‘s decision to include this element was a deliberate one, intended to deepen the audience’s understanding of the characters’ motivations and challenges.

One of the most remarkable aspects of “Fly Me to the Moon” is its ability to span multiple decades, offering a poignant glimpse into the evolution of the characters and their relationships over time. Sasha Chuk masterfully navigates these temporal shifts, weaving together a rich tapestry of memories, emotions, and experiences that resonate long after the credits roll.

Throughout our conversation,  Sasha Chuk emphasized the importance of capturing intimate moments shared by the family, even amidst the hardships they face. Scenes like the playful ketchup lipstick or the quiet elevator ride serve as poignant reminders of the resilience and humanity that lie at the core of the characters’ journeys.

Chuk’s hope for “Fly Me to the Moon” extends far beyond the borders of Hong Kong. She envisions the film sparking meaningful conversations and resonating with audiences around the world, regardless of their background or experiences. By shining a light on universal themes of identity, belonging, and resilience, Chuk invites viewers to reflect on their own lives and the connections that bind us all together.

In conclusion, my conversation with Sasha Chuk provided a fascinating glimpse into the creative process behind “Fly Me to the Moon” and the profound themes it explores. Through her thoughtful storytelling and deeply personal approach,  Sasha Chuk has crafted a film that speaks to the human experience in all its complexity and beauty.

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At the 39° Lovers Film Festival in Turin, the director Kate Maveau shared her story and the process of “It Burns“. A film about going through the five stages of grief.

Maveau zoomed in the isolation of the denial. With the participation of the actress Joke Sluydts, the director says that the whole crew opened and shared their stories during the making of the short film, which led to intense shooting days where everyone was deeply involved in the process, making it even more personal.

The film aims to let people see how it could be and how it could feel experiencing this moment, and that the reality is that it will not get better eventually and life will be different. After sharing her story, her message is to encourage people to talk during these moments, and not let anyone alone.

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At FRED microphones we had the opportunity to have a chat with Sonam Larcin, director of “Ce qui nous lie/The Bond Between Us“, before its first screening at the 39° Lovers Film Festival in Turin.

Sonam Larcin introduced his documentary about same-sex parenting, started from desire to have a child with his husband. The film explores the feelings and the emotions from different points of views, as friends and other couples, searching the bond between a child and the parents.

The Belgian director also talked about the situation around the world on this topic. Sonam Larcin hopes his documentary helps sharing the most important lesson about parenting: love the child unconditionally, regardless every other aspect.

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“Touched“ by Claudia Rorarius is participating to the 37° Bolzano Film Festival, after premiering in the Competition Cineasti del presente at the 2023 Locarno Film Festival, where it won the Pardo award to the best actors.

In competition,”Touched” explores the nuances between obsession, possession, co-dependence and care in a love story between a paraplegic man, Alex (Stavros Zafeiris) and his caregiver Maria, played by model and activist Isold Halldórudóttir.

As the title suggests, the film depicts the different meanings of being actually “touched”  by someone. The physical touch that can be either sexual or caring and then, the emotional touch, even more difficult to analyze.

Inspired by her experience with her father, who became paraplegic due to an illness, Claudia Rorarius explains that she decided to opt for a love story as it would allow her to also explore the sexual part and the physical interaction between the two protagonists.

To actually quote Claudia Rorarius in her director’s note: “A daring film about the emotional bond between outsiders, defying norms on disability and sexuality. As Maria, a fat woman, embraces her sensuality, the film explores the desire for love, closeness and fulfillment. Celebrating diverse bodies and breaking taboos”.

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After premiering at the Berlinale 2023 in the Generation Kplus and traveling along Festivals, “Dancing Queen“ lands at the 37th Bolzano Film Festival in the Lili section.

The film is a coming-of-age telling the story of nerdy Mina who decides to learn very quickly how to dance in order to impress the school’s newcomer and famous dancer Edvin.

Director Aurora Gossé, in Bolzano to show the film to the kids participating in the Lili section, describes the film as “for all ages, a feel good movie about dancing and being true to yourself”.

With a delicate and attentive touch, “Dancing Queen” depicts all the extremes of adolescence by also exploring the worst sides, including eating disorders.

At the 37th Bolzano Film Festival,  Aurora Gossé has also participated in a BFFB talk about cinema for a younger audience.

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At the 39 Lovers Film Festival, director Iossif Vardakis presented his documentary “AKOE/AMFI – The Story of a Revolution,” shedding light on the inception and impact of Greece’s first LGBTQ+ movement. In this interview, Vardakis delves into the significance of this untold story and the challenges of bringing it to the forefront.

Vardakis discusses his motivation behind documenting the birth of the first Greek LGBTQ+ movement in 1977, emphasizing the importance of preserving and sharing this pivotal moment in history. With a story never told, the documentary serves as a testament to the resilience and courage of those who fought for equality in the face of adversity.

The director reflects on the challenges of researching and capturing the history of a movement that existed in a time of limited documentation. Despite the scarcity of records, Vardakis embarked on a meticulous journey to piece together the narrative, ensuring accuracy and authenticity in portraying this transformative period.

Iossif Vardakis shares insights into his storytelling approach, blending archival footage, illustrations, and interviews to weave a cohesive and engaging narrative. By incorporating diverse narrative elements, “AKOE/AMFI – The Story of a Revolution” captures the essence of the movement while honouring the voices of those who lived it.

Reflecting on the Lovers Film Festival screening, Vardakis expresses gratitude for the overwhelming emotional reactions from the audience: “It was more than I expected! There were great emotional reactions from the audience.”

Talking about emotional reactions, Iossif Vardakis sheds light on the poignant dedication at the end of the film, honouring both those who participated in the movement and those who were unable to. This heartfelt tribute encapsulates the spirit of resilience and solidarity that defines the LGBTQ+ community.

Iossif Vardakis’ film“AKOE/AMFI—The Story of a Revolution” emerges as a powerful testament to the courage and resilience of Greece’s LGBTQ+ community. Iossif Vardakis‘s dedication to telling this untold history offers a beacon of hope and inspiration, reminding us of the transformative power of solidarity and activism. It is essential to remember and honour those who fought for us, those who first raised their heads, made their voices heard, and allowed everyone’s voices to be heard.

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