FRED Film Radio - English Channel

PODCAST| Angelo Acerbi interviews Lena Thiele and Valeria Richter, authors of the book Audience Design: An Introduction.

Lena Thiele and Valeria Richter have been working on audience design since a long time and they published a book with Torino Film Lab on how to use and perform it. It is a new tool for film production companies in order to optimize their investment towards a more precise audience and then being able to tailor the film, keeping its original and narrative core. Is it just marketing? Is it an additional creative help? This is what Lena and Valeria explain in this compelling interview.

The post Lena Thiele, Valeria Richter – Audience Design: An Introduction #TorinoFilmLab appeared first on Fred Film Radio.

PODCAST| Angelo Acerbi interviews Eva Svenstedt Ward, Head of Studies for Script Lab.

What is being Head of Studies of the Script Lab like? Eva Svenstedt Ward replis to this question telling us the aims that the Script Lab has and all the work and different approaches that they have with the projects they follow. Being an expert on adaptation for cinema and TV, she also gives an insight on how to work when adapting and which is the main and only rule to follow.

The post Eva Svenstedt Ward – Script Lab #TorinoFilmLab appeared first on Fred Film Radio.

PODCAST| Angelo Acerbi interviews Cameron Bailey, juror for the Torino Film Lab competition.

Cameron Bailey is artistic director of the Toronto International Film Festival, and director of TIFF Cinemathèque too, besides directing the learning programme and theatrical programming. In this chat we face the question of selecting, analysing and judging a film, under different points of view and different roles.

The post Cameron Bailey – Torino Film Lab Jury #TorinoFilmLab appeared first on Fred Film Radio.

PODCAST| Angelo Acerbi interviews John Butler, director of the film Papi Chulo.

John Butler was in Torino 4 years ago with The Stag. Now he’s back with a comedy that seems completely different but it is not that much, in its very core. The story of a friendship, weird and seemingly impossible, between a gay tv weatherman in Los Angeles and a Mexican immigrant worker is used by John in a sweet but political way, making us laugh and think and take sides, realizing how insensitive we can be and how life could be better if we opened to the people we meet on our path.

Papi Chulo: The strange, irresistible friendship between Sean, a TV weatherman on a station in LA, thirty years old, gay, and with a defunct love story; and Ernesto, an ultra-fifty-year-old Cuban factory worker with a wife and children, who every day goes to paint Sean’s terrace. Starting with Sean’s nervous breakdown on live TV, a succession of linguistic gags (Sean only speaks English, Ernesto only speaks Spanish), and keen observations of personalities and situations, the first American movie by the director of The Stag.

The post John Butler – Papi Chulo #TFF36 appeared first on Fred Film Radio.

PODCAST| Chiara Nicoletti interviews Jason Reitman, director of the film The Front Runner.

There was a moment in the USA and world political history where the private life of a person became as relevant as his public one. By telling the story of Gary Hart, the front-runner for the 1988 democratic presidential nomination that had to drop out over allegations of an extramarital affair, director Jason Reitman analyses that particular change in the history of politics. Based on the 2014 book All the Truth Is Out: The Week Politics Went Tabloid by Matt Bai, who co-wrote the screenplay with Reitman and Jay Carson, The Front Runner, stars Hugh Jackman as the brilliant politician who had to give it all up as he wasn’t expecting to be judged for his private issues rather than his political agenda. There’s a big question arising from the film: is it right to judge a politician by his private life choices instead of his political agenda? Jason Reitman, at the Torino Film Festival in the Festa Mobile section, tries to answer the question while comparing the situation Hart had to face in 1988 with the situation we’re all living in today, starting from President Trump’s moral behavior.

The Front Runner: Oscar nominee Hugh Jackman stars as the charismatic politician Gary Hart for Academy Award-nominated director Jason Reitman in the new thrilling drama The Front Runner. The film follows the rise and fall of Senator Hart, who captured the imagination of young voters and was considered the overwhelming front runner for the 1988 Democratic presidential nomination when his campaign was sidelined by the story of an extramarital relationship with Donna Rice. As tabloid journalism and political journalism merged for the first time, Senator Hart was forced to drop out of the race – events that left a profound and lasting impact on American politics and the world stage. Also starring Vera Farmiga, J.K. Simmons and Alfred Molina, The Front Runner is written by Matt Bai & Jay Carson & Jason Reitman, based on the book All the Truth is Out by Matt Bai, and produced by Jason Reitman and Helen Estabrook of Right of Way Films and Aaron L. Gilbert of BRON Studios.

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The post Jason Reitman – The Front Runner #TFF36 appeared first on Fred Film Radio.

PODCAST| Angelo Acerbi interviews Ewa Bukowska, director of the film 53 Wars.

Ewa Bukowska talks about her first feature film 53 Wars, and about her interest in sufferance that comes from wars to the people that are involved. She chooses a different narrative approach, telling the story of a woman married to a war correspondent who does not manage the situation anymore and slowly slides into mental disorder.

53 Wars: When Anka and Witek decide to have a baby, she gives up her career as a journalist while he continues his as a war correspondent. Anka starts to live in fear of receiving a phone call telling her that her husband has died and she ends up developing a post-traumatic stress syndrome similar to that of soldiers fighting on the front. The actress Ewa Bukowska debuts behind the movie camera for a powerful female portrait, part family drama and part psychological thriller.

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The post Ewa Bukowska – 53 Wars #TFF36 appeared first on Fred Film Radio.

PODCAST| Chiara Nicoletti interviews Babak Jalali and Sonja Prosenc, directors of the films Land and History of Love.

The Torino Film Lab can make the difference in the path of a young filmmaker. The directors showing their films at the 36° Torino Film Festival in the Festa Mobile / TFLab Section, Sonja Prosenc with History of Love and Babak Jalali with Land share their experience at the lab and reveal how the workshop and the network they got in contact with after and during the lab, helped them to develop the best film they could do. History of Love premiered at Karlovy Vary Film Festival and Land was at the latest Berlinale and they keep travelling through festivals ever since.

Land: The Denetclau family are native American and live on the Prairie Wolf Indian reservation. News reaches them that Floyd, the youngest son of the family, has died during military service in Afghanistan. The youngest surviving son, Wesley, is an alcoholic. His brother’s death doesn’t really hit him. The eldest son, Raymond, is a recovering alcoholic with a wife and and two sons. Although he feels a sense of responsibility for the extended family, he feels too emasculated to do something about it. Until the troubles that have affected his two brothers force him to stand up and be a man again.

History of Love: Seventeen-year-old Iva is in the process of coming to terms with the death of her mother. Influenced by this deep personal loss and by the discovery that she didn’t know everything about her mom, the girl slowly immerses herself into a strange, almost www.kviff.com dreamlike world. Sonja Prosenc’s movie is dominated by a distinctive poetic that attacks the viewer’s senses, as well as by a narratively loose style and an ability to construct a story with the aid of the subtlest of suggestions.

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The post Babak Jalali / Sonja Prosenc – Land / History of Love #TFF36 appeared first on Fred Film Radio.

PODCAST| Bénédicte Prot interviews Katharina Mückstein, director of the film L’Animale.

The Austrian director Katharina Mückstein tells us more about her second feature film after Talea (2013), featuring the same young actress, Sophie Stockinger, with whom she wanted to work again – and might collaborate with some more in the future. The motivation behind the movie not being the coming-of-age aspect so much as the gender identity theme, as Mückstein explains, she chose to surround the central character of Mati with other characters going through their own (sexual) identity crises. In the same spirit of nuancing instead of assigning roles, the mother-daughter relationship, one of the three defining relationships for Mati in the film, serves to portray the mother not just as a mother, but also to underline that Mati belongs to a younger generation of women who is able to experiment further with their gender identity and go beyond challenging traditional codes to observe (with irony) that new categories are created all the time that they can play with (more than the boys can, the director suggests). Then of course, there is also what is hidden to the others, whether it is because they are not trying to really understand the other individual, or because of that “animale” the title refers to..

L’Animale is a film about the contradictory forces that guide our lives: desire, passion, and reason. Riding on their tuned-up bikes, Mati and her posse of male friends intimidate their neighborhood and harass the girls. In their village, they rule. But when her closest pal Sebastian falls in love with Mati and her enemy Carla unexpectedly turns into a friend, Mati is in danger of losing her standing among her male friends. Meanwhile Mati’s parents have a decision to make: What’s more important, appearances or reality?

The post Katharina Mückstein – L’Animale #FestFilmLRSY appeared first on Fred Film Radio.

PODCAST| Bénédicte Prot interviews Wolfgang Fisher, director of the film Styx.

A lovely and captivating talk with the author of one of the most important and significant films of the year, despite its minimalistic apparatus. Wolfgang Fisher explains that the core idea of the project, nine years ago, was always to reflect upon how we Europeans would respond to an environment so archaic and hostile, doubled with a situation so overwhelming as the one his main character is faced with, a character whose thoughts and dilemmas the viewer is forced to stay with throughout the whole film. He underlines that in order to deal with that theme, it was important to actually confront the ocean and fake nothing, despite the challenge that was a 42-day shoot on a 11-meter boat out a sea, and points out what the role of Rike entailed in this nearly dialogue-less, yet so incredibly telling feature. The Austrian director also says that as his film is about how help functions in Europe and as, contrary Rike who is completely alone, we have ways of standing together, he really values the opportunity offered by the LUX Prize to show his film at the European Parliament, where decisions are made, and thus be able to trigger dialogue not by presenting data, but through the powerful emotions fiction is able to convey. The interview ends on his telling us more about the incredibly graceful opening scene, so dreamy yet completely true to facts.

Styx: As Rike (Susanne Wolff), a German first-aid doctor, sails away to the paradisiac, tropical destinations she has been dreaming about, out in the shimmering blue, her path crosses that of a boat of migrants in distress on that majestic inferno that is the ocean, but her compulsion to rescue is met with striking reluctance on the part of the responder speaking on the other side of her radio, placing her, while human beings are dying before her very eyes, in a situation of disarray and helplessness with unbearable moral implications which reflects the apotheosis of inhumanity that is the utter indifference of our world towards the tragedies of the other half.

The post Wolfgang Fisher – Styx #FestFilmLRSY appeared first on Fred Film Radio.

PODCAST| Bénédicte Prot interviews Adina Pintilie, director of the film Touch Me Not.

The Romanian winner of this year’s Golden Bear in Berlin recounts how her project, conceived as a dialogue inviting the viewer to challenge his/her idea of intimacy, developed into the innovative, unique proposal it is now through a long, organic process during which the fourth wall grew more and more fluid up to the point where in order to engage of certain type of participation on the part of the viewer, beyond the technical apparatus making the exchange possible, the film also needed to include the filmmaker and the emotional motivation behind the whole research. With our contemporary society in mind, Adina Pintilie points out that the self-interrogation people seem to crave more and more leads to relating more with the other. She talks about her brave protagonists, about challenging normative fictions, and underlines that Touch Me Not, already sold to 35 territories by Doc & Film International, is part of a more complex, long term research project which will lead to follow-ups and extend beyond the film format.

Touch Me Not: “Tell me how you loved me, so I understand how to love.” Together, a filmmaker and her characters venture into a personal research project about intimacy. On the fluid border between reality and fiction, Touch Me Not follows the emotional journeys of Laura, Tómas and Christian, offering a deeply empathic insight into their lives. Craving for intimacy yet also deeply afraid of it, they work to overcome old patterns, defense mechanisms and taboos, to cut the cord and finally be free. Touch Me Not looks at how we can find intimacy in the most unexpected ways, at how to love another without losing ourselves.

The post Adina Pintilie – Touch Me Not #FestFilmLRSY appeared first on Fred Film Radio.