FRED Film Radio - English Channel

Dal 21 Novembre con Warner Bros Pictures in sala arriva “Una Terapia di Gruppo” di Paolo Costella. 

Con un cast corale, composto da Claudio Bisio, Valentina Lodovini, Margherita Buy, Lucia Mascino, Claudio Santamaria, Ludovica Francesconi e Leo Gassman, il film racconta le ossessioni del nostro tempo, attraverso un gruppo di pazienti affetti da Disturbo Ossessivo Compulsivo. 

Sfruttando i toni della commedia, tanto cara alla nostra tradizione cinematografica, “Una Terapia di Gruppo” affronta un tema che ci riguarda tutti, perché ognuno di noi, con le sue declinazioni e intensità, deve fare i conti con fissazioni, ossessioni e  tormenti.

Concordano Claudio Bisio e Valentina Lodovini che elogiano lo strumento della commedia perché con certi disturbi sarebbe molto più facile drammatizzare, mentre, ribaltare la situazione, “non ridere di loro ma con loro” aiuta ad empatizzare, ad affrontare. 

Seppur tratto dal soggetto originale “Toc Toc” di Laurent Baffie, il film prende un’altra direzione e prova a accogliere il dubbio, l’empatia e l’immedesimazione nello spettatore. 

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Searit Huluf is at the 24th Frame Future Film Festival in Bologna, Italy to present “Self“, her Pixar Sparkshort film.

The director is also giving a Masterclass “Pixar Talk: Self” at the festival.

The film, as the director confirmed while presenting it in various occasions, marks several firsts. Among those, it is Pixar’s debut in stop-motion and it’s a short film that holds a personal connection with its author, Huluf.

Produced by Eric Rosales, “Self” belongs to Pixar’s acclaimed Sparkshorts program and it depicts a journey of self discovering through the adventure of this wooden doll who desperately wants to fit in.

Searit Huluf tells us about the freedom she had to tell a resonating story for her that could honor her Ethiopian heritage.

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At the 65th Festival dei Popoli in Florence, Ben Rivers, director of the documentary “Bogancloch”, shared insights into his work and the inspirations that shaped it. Rivers expressed his excitement about presenting the film at the festival, marking his first experience sharing a personal project in such a prestigious setting.

Rivers discussed the symbolism of the Trabucco, which he portrays almost as a character within the film. This complex, wooden structure—entirely devoid of electricity—requires continual care and attention. He emphasized that the Trabucco is more than just a fishing device; it represents a bond between humans and nature, with its meticulous upkeep reflecting the commitment of those who rely on it and a tradition deeply rooted in respect for natural elements.

In capturing the flow of daily life, Ben Rivers sought to tell a story that invites viewers to contemplate the delicate balance between solitude and the human experience within nature. His time with the characters allowed him to immerse himself in their world, capturing their lives with an authenticity that comes through vividly in the film.

Ben Rivers shared that, while exploring the essence of isolation, his intent was not to romanticize it. Instead, he aimed to portray the complexities of living in seclusion, noting that while solitude can foster a profound connection to nature, it also brings loneliness and detachment from society.

He emphasized his observational documentary style, noting the importance of letting the characters’ subjectivity shine. The film offers a nuanced view of their lives, encouraging the audience to engage with their experiences rather than offering a one-dimensional portrayal. This approach fosters a deeper understanding of the characters’ reality.

The conversation also touched on the broader implications of the film, particularly concerning contemporary issues of isolation. Rivers expressed his hope that “Bogancloch” resonates with viewers who may grapple with similar feelings in today’s fast-paced world. By blending themes of solitude with the beauty of the Scottish Highlands, he aims to inspire reflection on the human condition and the quest for connection.

In sum, “Bogancloch” serves as a thoughtful exploration of isolation and the relationship between people and nature. Through Rivers’ lens, audiences are invited to reflect on the significance of these themes while immersing themselves in the beauty of the landscapes and the depth of the characters’ lives.

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At the 24FRAME Future Film Festival, “The Peasants”, directed by Hugh Welchman and Dorota Kobiela Welchman, opened the competition, immersing viewers in the life of a Polish village in the late 19th century. This visually captivating film follows Jagna, a young woman who defies the restrictive norms of her community, with her beauty and independent spirit sparking jealousy and conflict.

When asked about the inspiration for adapting the Nobel Prize-winning novel, Hugh Welchman explained that his wife and co-director Dorota Kobiela had read “The Peasants” as a teenager. Later, while painting for “Loving Vincent”, she revisited the story, finding that “the language was like someone describing a painting to you,” Welchman recalled. This poetic imagery inspired them to create a fully oil-painted animation, the second of its kind after Loving Vincent.

Creating an oil-painted film is a labour-intensive process, as Welchman explained: “The average frame on “Loving Vincent” took two and a half hours; for The Peasants, it took five.” With a narrative that includes dance scenes, battles, and large village gatherings, the film required intricate, painstaking work. Welchman also highlighted the connection to the 19th-century realism movement: “The realism style was more difficult than the thick, impasto brush strokes of Van Gogh’s style,” but it perfectly captured the rural, pastoral setting.

“The Peasants” addresses contemporary societal themes, like the societal pressure on women to conform. Hugh Welchman remarked, “There’s a timelessness in how societies often scapegoat those who don’t conform, and unfortunately, this is often women.” The film explores this dynamic through Jagna’s struggles, highlighting that while decades may have passed, the issues of patriarchal oppression and violence against women persist.

Nature, represented through changing seasons, plays a dual role in“The Peasants”as both a backdrop and a place of refuge for Jagna. “The cyclical nature of life is ever-present…while human dramas unfold, the seasons keep turning,” Welchman observed. Nature offers Jagna moments of respite from the village’s scrutiny and control, reflecting her deep-seated yearning for freedom. In Welchman’s words, “She naturally feels that society should be different from how it is…and nature becomes her escape.”

The intricate oil-painted visuals and nuanced storytelling make The Peasants an unforgettable cinematic experience. As Welchman said, “The Peasants” captures “all of the human emotions in one story—love, passion, jealousy, and conflict,” presenting a poignant reflection on human resilience and the cyclical nature of life.

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The 24th already successful edition of Trieste Science+ Fiction Festival is reaching its end and Artistic Director Alan Jones has already many ideas for the 25th.

That’s how fast the creative and fantastic minds working at the Festival elaborate and program.

With AI being the main theme explored by the Festival through its events and more than 50 world, international and italian premieres, TS+F invited its audience to Brainstorm the MegaFuture with a diverse selection of hand-picked titles to provoke, amuse, shock, compel and entertain.

We might be heading towards a fourth industrial revolution, as the Festival poster designed by ZeroCalcare suggests but according to Alan Jones, we must not fear Artificial intelligence. “AI for me is just another tool for creatives to use”.

Science Fiction is the right genre to tackle big and important topics such as, besides AI, climate change. At the beginning of this 24th edition Alan Jones said and wrote: “From the rise of the machines and the fears surrounding AI to the threats of climate change and alien invasion in not just its extraterrestrial forms, the Trieste Science+Fiction Festival 2024 deliberately covers every hot button topic concerning humanity at this precise time in all our uncertain lives”.

The 24th Trieste Science + Fiction Festival kept all its promises and the audience massively responded.

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In “Bring Them Down”, director Christopher Andrews and actor Colm Meaney delve into themes of isolation, conflict, and the haunting weight of the past. The film follows Michael, the last son of a shepherding family, who finds himself at odds with a rival farmer while struggling with unresolved guilt. The escalating tensions drive both families into an irreversible tragedy, revealing the depths of human resilience and fragility. At the 19th Rome Film Fest, we met with Andrews and Meaney to discuss the inspirations and messages behind this powerful story.

When asked, “What does it take to start a war, and why are men so often the ones involved?” both Andrews and Meaney provided compelling insights. According to Christopher Andrews , “Wars are often because of lack of communication, mostly due to a lack of trust… it seems easier to fight than to sit around the table and communicate.” Colm Meaney, reflecting on the historical context, added, “Most cultures have been patriarchal, and as a result, men in power cause wars. Personally, I think we’d be better off if we could change that somewhat.”

The absence of female figures deeply affects the characters of “Bring Them Down”, both emotionally and psychologically. The story explores how the absence of a mother or wife influences the emotional lives of men left behind. “My father died when I was nine, and even though he’s not there, his presence loomed large over my life,” Andrews shared, noting the power of absent figures in shaping one’s life choices and values. Meaney emphasized, “The community in the film is one where women often leave, and men are left struggling to adapt.”

“Bring Them Down” marks Andrews’ debut as a feature film director. He expressed gratitude for working with a cast of such calibre, including Meaney, Christopher Abbott and Barry Keoghan, stating, “It was a privilege… and the learning curve of watching their collaboration was invaluable.” Andrews approached the collaboration as an opportunity to support the actors, “giving them the space to perform and interact… building trust, knowing they would be happy with what they’re bringing to the film.”

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Fred Film Radio interviewed Julien Menanteau, director of “Lads”, presented in competition at Alice nella Città. With an insightful look into the world of young jockeys and the horse racing industry, “Lads” is a unique perspective on ambition, resilience, and the cost of chasing dreams.

“Lads”tells the story of Ethan, a young jockey navigating the harsh realities of the horse racing industry. Known for its glamour and high-stakes wins, Menanteau takes us beyond the racetrack’s glitz. He shares, “I really wanted to speak about the people who work in this industry, the young people working with the horses and hoping to have a better future.”

For Julien Menanteau, the story is deeply personal. Inspired by directors like Ken Loach and films like The Loneliness of the Long Distance Runner, Menanteau crafted “Lads” as a raw, honest portrayal of the struggles behind the scenes in horse racing. “There is something very intense, almost military, in the way young jockeys live and train. It’s like a jail sometimes, with only one place for those who aspire to become jockeys,” he notes.

Having transitioned from documentary filmmaking, Menanteau’s approach to “Lads” is grounded in authenticity. “I wanted to make a movie that felt real. To achieve that, we shot with real horses, real jockeys, in real racing locations,” he explains. This decision, though challenging, added a genuine touch to the film’s depiction of horse racing.

Casting was also essential in Menanteau’s vision for “Lads”. The role of Ethan, played by Marco Luraschi, is both demanding and transformative. “Finding someone who could act and race without needing a stuntman was key. Marco’s background and dedication allowed us to keep it real, capturing every movement and emotion as he raced,” Menanteau shares.

The physical demands on jockeys are intense, reflecting a larger theme of ambition and the sacrifices made in pursuit of success. Menanteau agrees, noting, “In the beginning, Ethan wants a place to grow and excel, but over time, he realizes the cost. By the end, he’s faced with choices that make him question if the industry’s pursuit of success aligns with his values.”

The high stakes and relentless pursuit of excellence in horse racing reveal the costs involved. “He dreams of a better future, but as the movie unfolds, he starts questioning whether he’s losing a part of his humanity along the way,” Menanteau remarks.

Julien Menanteau also speaks about respecting the animals that make this sport possible. The team prioritized the horses’ health during filming. “We had only five minutes per hour to film the horses in action, allowing them 55 minutes of rest. Those five minutes were magical, and we captured everything with multiple cameras ready to go.”

“Lads” sheds light on both the beauty and the darker sides of the horse racing industry, delivering a compelling story that questions ambition, loyalty, and compassion. As Menanteau puts it, “At the beginning, there is a dream, but by the end, you see that success comes with a price.”

The post “Lads”, interview with the director Julien Menanteau appeared first on Fred Film Radio.

At this year’s Alice nella Città, we speak with Lisa Brühlmann, the director, screenwriter, and actress behind the film “When We Were Sisters”. Set in the nostalgic 90s, the movie explores the complex dynamics of a patchwork family on their first vacation together. “It’s a story about friendship and how sometimes, friendship can be more important than family,” Lisa shared during our conversation.

When asked about the inspiration behind her film, Lisa Brühlmann emphasized the significance of resilience and the bonds we share with our friends. “It’s almost a love letter to my friends,” she explained. This sentiment resonates deeply within the film, highlighting how pivotal friendships can be during our formative years.

In discussing the characters, Lisa noted the importance of portraying each individual’s fragility. “No one is the bad one,” she stated. “Every character has their own drama.” She plays Monica, the mother, whose struggles and imperfections make her relatable. “Being a mother myself, I understand how hard it is to meet high standards of what makes a good mom,” she reflected.

A recurring motif in the film is the concept of prison, both physical and emotional. Lisa Brühlmann explained, “Valenska is in the prison of the reality that the mother built.” The film beautifully portrays how the characters grapple with guilt and expectations, inviting the audience to empathize with their journeys.

As both director and actress, Lisa Brühlmann shared the challenges of embodying a troubled character while managing the film’s vision. “It was exhausting to get into Monica’s mindset,” she admitted, “but it was a relief to switch back to being the director.” This dual perspective adds depth to her performance, making her portrayal of Monica both authentic and poignant.

Set in 1996, “When We Were Sisters” captures the essence of a time before smartphones and social media. Lisa Brühlmann expressed that the isolation of the 90s made the characters’ emotional journeys feel more profound. “In a toxic relationship, you feel more isolated,” she noted, highlighting the contrast between past and present dynamics.

Ultimately, Lisa Brühlmann hopes viewers will take away a sense of connection and understanding from her film. “I hope you feel the power of friendship, resilience, and love,” she concluded. “Sometimes, friendship can be stronger than family.”

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Fred Film Radio had the pleasure of speaking with Jasmin Gordon, director of “The Courageous”, and actress Ophelia Kolb at Alice nella Città. They discussed their collaboration on this intense, character-driven film that challenges stereotypes of single mothers and asks audiences to embrace nuanced, imperfect characters. “The Courageous” is a story about a single mother who lives a kind of double life… trying to be the best mother she can, while also wrestling with her criminal past,” Gordon describes. This tension in the lead character, Jule, is central to the film’s exploration of morality and resilience.

Kolb and Gordon share how their partnership on set brought depth to Jule. Ophelia Kolb describes her understanding of the character as immediate: “I think I understood Jule very quickly… it was easy to work with Jasmine because we were on the same route, talking the same language.”  Jasmin Gordon ’s directing approach welcomed Ophelia Kolb’s contributions, creating a collaborative and organic working environment. “I don’t have a perfect image of a scene… it’s more about an emotional feeling,” Gordon explains, underscoring her openness to new ideas from her cast.

A significant theme in “The Courageous” is breaking down the societal expectations of mothers. Both Gordon and Kolb drew from their experiences to shape a character who embodies strength without adhering to traditional ideals. “We both have mothers or know women who are complex,” Gordon says, “women who are strong but not in a simplistic way.” Kolb adds, “We know a Jule in our lives, which made it natural to bring that complexity to her.” Their commitment to this authentic portrayal was crucial, they believe, for viewers to understand Jule’s struggles beyond clichés.

One particular scene of “The Courageous” resonates deeply with Jasmin Gordon and Ophelia Kolb: the cake scene, where Jule ‘s love for her children is shown without dialogue. Kolb describes it as the “perfect way to explain her love for her kids without words.” Gordon agrees, explaining that the scene reflects the immense pressure on mothers to achieve an unrealistic ideal. “There’s this pressure to be a ‘supermom’—perfect in every way. She could just tell her kids, ‘Here’s a store-bought cake, I love you,’ but instead, she feels compelled to go further, to maintain that image,” Gordon shares. This subtle yet poignant scene reflects how far Jule will go to protect her image as a “good mother.”

One of Jasmine Gordon’s goals with “The Courageous” is to inspire empathy for characters like Jule. She wanted to create a lead character who might seem morally ambiguous but whose journey and struggles are relatable. “I really hope this character allows certain people to have more empathy for women on the border of what’s acceptable,” Gordon says. Choosing Kolb for the role was essential to achieving this effect, as Kolb “brings so much lightness and heartwarming energy” that allows audiences to connect with Jule, even in her darkest moments.

Ultimately, we asked Jasmin Gordon and Ophelia Kolb what it means to be a good mother. Both Gordon and Kolb reflect on their views, agreeing that motherhood doesn’t require perfection. “Being perfect isn’t a good thing,” says Gordon. “Kids need to see a mom who’s human, who shows her emotions.” Kolb adds that a good mother “brings love and tries to show that life, though challenging, can have its bright moments.” This message is central to “The Courageous”, a film that captures the beauty in imperfection.

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Fred Film Radio interviews “Julie Keeps Quiet” actresses Tessa Van den Broeck and Grace Biot at Alice nella Città. In this exclusive conversation, the two stars delve into the emotional depths of their characters and share insights on portraying themes of silence, resilience, and personal growth. Premiered at Cannes, this compelling film now competes at Alice nella Città, continuing its journey through international festivals.

Van den Broeck, who portrays Julie, a 15-year-old tennis player, describes her character as “introverted, closer to herself and reluctant to open up to others.” She explains that Julie faces a profound challenge when her coach is suspended. This event becomes central to Julie’s silence as she struggles to process what happened. Grace Biot, who plays Laure, describes her role as one of quiet support. “Laure doesn’t always have to talk—just being there is enough to create a bond,” says Biot, reflecting on the importance of presence over words. Their connection on screen was built through extensive rehearsals, allowing them to “understand what Leonardo [Van Dijl ] wanted from Laure as a supportive figure for Julie,” Biot adds.

Reflecting on their time on set, Van den Broeck shares how she learned to appreciate the intricate details of filmmaking: “It was my first time ever on a set… the sound, the light, the camera. There are like 40 people behind it, and you never think about that if you just watch a movie!” For Biot, the experience of working with a large team and close-knit cast was equally eye-opening. She explains, “Leonardo made us feel so comfortable, and I think that upgraded our performance… from the moment he said ‘action,’ we were in character, but as soon as he said ‘cut,’ we’d go back to having fun together.”

The actresses also share the emotional experience of presenting “Julie Keeps Quiet” at festivals like Cannes and Alice nella Città. “It was the first time we were going to show it to an audience,”  Van den Broeck admits, describing her nervousness. “Everyone was clapping, some even crying… I never imagined we’d go to Cannes, let alone Italy. I thought it’d be a short movie in Belgium with maybe 50, 100 viewers.” Their journey reflects the film’s universal impact, resonating with diverse audiences worldwide.

What do they hope young viewers take from the film? “I hope young people feel they’re not alone in this. There are others who’ve gone through what Julie has,” Van den Broeck says. Biot adds, “I hope they can reflect on their own silences and maybe open up to someone they trust.” Both actresses highlight that “Julie Keeps Quiet” is a reminder to check in with loved ones and reach out when we sense something might be wrong.

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