FRED Film Radio - English Channel

To discover how to foster international collaboration and supports emerging film projects around the world we met with Martina Bleis, Head of the Berlinale Co-Production Market on the eve of its new edition.

The co-production market is a vital platform that connects creators, producers, and funders across borders to facilitate international film and series projects. As a cornerstone of the Berlinale, the Co-Production Market attracts hundreds of applications yearly, showcasing the sector’s growing importance in global cinema. This market not only provides opportunities for funding and partnerships but also serves as a hub for industry professionals to exchange innovative ideas and co-create content. Its significance lies in fostering cross-cultural storytelling and expanding the reach of diverse narratives.

The process of selecting projects for the co-production market is meticulous and competitive. Each year, the team reviews hundreds of submissions, prioritizing projects with strong international co-production potential, existing partnerships, and clear financing plans. The selection committee, often assisted by external experts, evaluates proposals based on artistic quality, viability, and potential for international collaboration. Projects with fewer existing partners may have an advantage, as the market aims to facilitate connections that can significantly advance the project’s development. This careful curation ensures that the market’s resources are focused on initiatives with the highest potential for success.

Participation in the co-production market requires attendees to have prior international co-production experience, ensuring meaningful and productive interactions. The market’s extensive network includes producers, broadcasters, film funds, and other industry stakeholders, all supporting the development of innovative content. Following the event, organizers maintain contact with projects through follow-up communications and tracking, highlighting the market’s role in nurturing ongoing collaborations. With over 400 projects resulting in completed films and series, the co-production market continues to be a dynamic catalyst for new international productions, emphasizing its instrumental role in shaping the future of global cinema.

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After premiering at the Locarno Film Festival and participating at the Sarajevo Film Festival, Fantasy, Kukla’s debut feature after her critically acclaimed short film “Sisters“, is in competition at the 37° Trieste Film Festival.

The film features three girls, Mihrije, Sina and Jasna, outsiders in their little world, as they don’t conform to the conservative system they’re sort of forced to live in. Their world or their perception of it, especially Mihrije’s (Sarah Al Saleh) will definitely change after they meet Fantasy, a trans woman trying to live her life at her own rules.

Kukla comes from the music world as she directed many music videos in her career. The idea for Fantasy came to her 10 years ago when she was directing a music video and the protagonists were tomboy girls in grey sweats, riding motorbikes and training together. “That image of the “forgotten ones” in baggy clothes with ponytails low down by the hair line, who somehow remained prisoners of their family and their environment for not fitting the rigid rule lines of womanhood in patriarchal Balkans, got stuck in my head – writes Kukla –  and sparked a cascade of memories and visions, from sworn virgins (virdžinas), which is a big and complex part of Balkan history, to the legacy of turbo folk culture today”.

The director then discovered that, in a way, this story could also reflect her own experience growing up and living in the Balkans so that the film rapidly acquired a more universal tone becoming an exploration on ‘What is a Woman?’, ‘How is it to be a woman?’ today and here.

“Fantasy” explores complex themes of gender, desire, and self-discovery within the vibrant Balkan context. The movie weaves dreamlike visuals with social realism, creating an evocative portrayal of young women’s journeys.

By blending musical influences with magical realism, “Fantasy” captures the fluidity of identity and desire, making it both a local story and a universal reflection on human vulnerability and resilience.

The creative journey of “Fantasy“ was heavily influenced by the director’s background in music videos and her admiration for cinematic traditions like magical realism and social realism. The film visually emphasizes the poetics of concrete environments while exploring the dreamlike states of its characters. This stylistic choice underscores the tension between reality and fantasy, making “Fantasy” a visually bold and emotionally compelling film that resonates with audiences worldwide.

The post “Fantasy”, interview with director Kukla appeared first on Fred Film Radio.

After premiering at the latest Karloff Vary Film Festival, where it won the award for Best director, “The Visitor (Svečias)”, renowned cinematographer Vytautas Katkus’ debut feature, lands the 37th Trieste Film Festival’s competition.

Shot in 16 mm, “The Visitor” could be considered as a late coming of age of a 30 year old who recently became a father and finds himself in a situation where he’s forced to return to his hometown in Lithuania to sell his childhood flat.

“Sometimes, you need to return for a while just to understand that it’s no longer your place.” says Katkus in his director’s notes. “The Visitor”, indeed, explores the feeling of not really belonging to a place anymore while confronting memories of the past and experience a strange in between feeling.

The starting points for “The Visitor” were, for Katkus, three main topics he couldn’t explore enough with his short films: loneliness, the father-son relationship and the atmosphere, in terms of the environment a person lives in. The latter is treated by the director as a character itself, sharing the stage with the protagonist, Danielius.

“Danielius feels like an alien in this place he once grew up in and belonged to” says Vytautas Katkus, explaining the reason for the film’s international title, echoing those genre alien movies.

The film explores not just physical relocation but also the emotional journey of understanding oneself through the lens of past and present. It stands out for its unique approach to storytelling, blending documentary-style realism with emotional depth. Danielius is afraid of losing his roots yet yearns to let go of memories tied to his childhood environment. This duality invites viewers to reflect on their own feelings of belonging and the ways memories shape our identity. The film’s ability to establish a strong empathy for the main character makes it resonate on a deeply personal level.

“The Visitor – Svečias” employs a non-narrative, puzzle-like structure, divided into chapters that each depict different facets of loneliness and human experience. Katkus’ style incorporates various cinematic elements—absurdity, musical moments, and visual poetry—to mirror Danielius’ complex mental landscape. This stylistic approach allows the audience to piece together the story, making the experience immersive and introspective.

The post “The Visitor”, interview with director Vytautas Katkus appeared first on Fred Film Radio.

At Focus London 2025, Fred Film Radio spoke with Simone Gandolfo, President of the Valle d’Aosta Film Commission, about the fundamentals of a film commission’s role, what sets the region apart, and why in-person markets remain vital to the industry.

Simone Gandolfo explained that Valle d’Aosta Film Commission operates very practically, managing its own regional fund alongside national incentives and tax credits. The commission can provide up to €300,000 per production, but he stressed that financial support is only part of the job. Just as important is acting as a direct interface between productions and the territory, supporting everything from location scouting to permits for public and private spaces, and working closely with local authorities to make filming as smooth as possible.

Pitching Valle d’Aosta, Simone Gandolfo leaned into the region’s compact but dramatic geography. Within an hour’s drive, productions can access 4,000-metre-high mountains, castles spanning multiple centuries, Roman archaeological sites and highly skilled local crews used to working in extreme environments. He spoke proudly about the region’s ability to host everything from intimate indie projects to large-scale European co-productions at altitude, while also being within easy reach of major cities when needed.

Reflecting on recent highlights, Simone Gandolfo pointed to “The Eight Mountains (Le otto montagne)”, which played at Cannes in 2022, and the internationally successful TV series “Rocco Schiavone”, which continues to sell strongly in the US and across Europe. He also referenced past large-scale productions, including ” The Avengers” and “House of Gucci”, describing the region’s approach as one of balance — supporting blockbusters, TV, documentaries and European indie cinema side by side. Looking ahead, Simone Gandolfo highlighted strong green, HR and diversity protocols already in place, expressed optimism about AI as a tool if handled responsibly, and, on a more playful note, revealed his personal wish to welcome Darren Aronofsky or even an HBO-scale fantasy series, insisting that Valle d’Aosta could easily double for something on the scale of “Game of Thrones”.

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This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

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At Focus London 2025, Fred Film Radio spoke with Jacopo Chessa, Director of the Veneto Film Commission and President of the Italian Film Commissions Association, about Italy’s film commission system, Veneto’s recent screen successes, and why international collaboration is now central to the industry.

Jacopo Chessa explained that Italy’s film commissions operate at a regional level, with all 20 regions offering public support to film and TV productions. This includes funding, permits and infrastructure, with around €80 million in regional funding available each year nationally, on top of national incentives. A key aim, he stressed, is attracting international productions while working collaboratively across regions rather than competitively.

Focusing on Veneto, Jacopo Chessa described Venice as both a global brand and a challenging place to film, requiring experience and careful planning. He outlined the region’s €6 million annual fund, supporting up to 50% of local costs, and reflected on a wide mix of recent projects. These ranged from Cannes-selected “Le città di pianura (The Last One for the Road)” and Venice competition title “Duse”, to large-scale productions such as “Dune: Part Two”, “FBI International” and “Emily in Paris”. On the TV side, he also highlighted “Stucky”, affectionately describing it as a Venetian take on “Columbo”.

Chessa spoke about sustainability initiatives, including the adoption of the Green Film protocol and an upcoming international training programme to develop green managers for film sets. He described Focus London as a particularly useful, location-driven market and highlighted the newly signed agreement with the British Film Commission as a practical first step towards deeper collaboration. Looking ahead, he emphasised the need for stronger organisation, international presence and better communication around contemporary Italian cinema, noting with pride that Veneto had enjoyed a standout year across major festivals.

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This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

The post Interview with Jacopo Chessa, Director of Veneto Film Commission and president of the Italian Film Commissions Association at Focus London 2025 appeared first on Fred Film Radio.

We met with Laurence Fishburne, at the 22nd Marrakech International Film Festival. He has built a remarkable career spanning decades, becoming one of the most respected figures in Hollywood. From iconic film roles to theatrical productions, his work reflects a deep commitment to storytelling and cultural representation. We talked about his career, his approach to acting, and his future projects.

Laurence Fishburne gained worldwide fame with his role in “The Matrix”, where he portrayed Morpheus. This film became a cultural phenomenon, and his portrayal set a new standard for science fiction characters. Beyond “The Matrix”, Fishburne’s performances in movies like “Boyz n the Hood” and “Apocalypse Now” showcased his range and ability to embody complex characters. His contributions have cemented his status as a leading figure in American cinema. His dedication to roles that resonate on a deeper level is evident in his choice of projects. Fishburne has expressed a desire to create work that impacts audiences emotionally and intellectually. His involvement in critically acclaimed films and series demonstrates his commitment to storytelling that moves the soul.

Looking at his latest endeavors, Laurence Fishburne is expanding into directing while continuing to perform. He has recently written and performed a solo show that reflects his personal journey and storytelling passion. His future projects include developing new film concepts and stage performances, indicating his desire to explore new creative horizons. In addition to his acting and directing pursuits, Fishburne remains passionate about social and cultural issues. His roles often inspire conversations about identity, history, and society.

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We met with Guillermo del Toro at the 22nd Marrakech International Film Festival. We talked about his approach to storytelling, his artistic influences, and the themes that shape his films.

Guillermo del Toro is renowned for creating monsters that evoke sympathy rather than mere terror. His fascination with the emotional depth of creatures is rooted in childhood encounters with classic horror and Japanese kaiju movies, where monsters like Godzilla transitioned from destructive forces to misunderstood beings. del Toro often stresses that his monsters symbolise broader human experiences such as loneliness, rejection, and the need for understanding. His films, including “Pan’s Labyrinth” and “The Shape of Water“, exemplify this approach by showcasing creatures that are tender, often suffering, and deeply human.

The work of Guillermo del Toro is heavily influenced by visual arts, illustration, and literary classics, especially Frankenstein by Mary Shelley. del Toro often cites painting, comic art, and film pioneers like Hitchcock and Fellini as essential to his aesthetic development. His cinematic language is characterized by richly textured visuals, expressive composition, and deliberate use of color and sound to evoke emotion. These influences inform his storytelling, allowing him to craft films that are visually dense and narratively profound, echoing the philosophical depths present in Shelley’s novel, which del Toro admires for its exploration of creation and empathy.

Throughout his career, Guillermo del Toro has balanced homage and innovation, drawing from his personal history and artistic influences to develop unique films. Inspired by legendary directors like Hitchcock and Cronenberg, del Toro embraces creative risk, often advocating for artists to “scare themselves into being young.” His upcoming projects promise to continue pushing boundaries, exploring new themes and aesthetics while maintaining his signature depth and humanity. In reflecting on his body of work, it is clear that Guillermo del Toro’s exploration of monsters—both literal and metaphorical—is driven by a desire to understand and humanize the other, a perspective central to his identity as a filmmaker.

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During Focus London 2025, the British Film Commission and the Italian Film Commissions Association signed a renewed Memorandum of Understanding (MoU), strengthening collaboration between the UK and Italian screen industries.

Building on the 2022 agreement, this new Memorandum of Understanding reinforces strategic cooperation, encourages inward investment, supports high-end film and television production, and promotes both countries as leading global filming

The partnership focuses on facilitating co-productions, enhancing joint international promotion, and organising reciprocal industry initiatives to stimulate new opportunities. Within this framework, Cinecittà’s International Department will support missions for Italian producers, further boosting collaboration between the two territories.

This podcast features an exclusive extract with Maria Giulia Bofano, First Secretary for Economic and Commercial Affairs at the Embassy of Italy in London and insights from the conference, offering a deeper look at the objectives, expectations and future opportunities arising from this enhanced bilateral agreement. Listeners will hear reflections on Memorandum of Understanding, policy, industry development, creative partnerships and the shared commitment to strengthening Europe-UK relations in the audiovisual sector. From tax incentives to real production case studies—including major titles filmed across both territories—this conversation highlights why the UK and Italy continue to play a key role in the global film and High-End TV landscape.

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This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

The post Memorandum of Understanding: interview with Maria Giulia Bofano, First Secretary for Economic and Commercial Affairs at the Embassy of Italy in London appeared first on Fred Film Radio.

During Focus London 2025, the British Film Commission and the Italian Film Commissions Association signed a renewed Memorandum of Understanding (MoU), strengthening collaboration between the UK and Italian screen industries.

Building on the 2022 agreement, this new Memorandum of Understanding reinforces strategic cooperation, encourages inward investment, supports high-end film and television production, and promotes both countries as leading global filming

The partnership focuses on facilitating co-productions, enhancing joint international promotion, and organising reciprocal industry initiatives to stimulate new opportunities. Within this framework, Cinecittà’s International Department will support missions for Italian producers, further boosting collaboration between the two territories.

This podcast features an exclusive extract with Adrian Wootton OBE, Chief Executive of British Film Commission and Jacopo Chessa, President of Italian Film Commissions Association of and insights from the conference, offering a deeper look at the objectives, expectations and future opportunities arising from this enhanced bilateral agreement. Listeners will hear reflections on Memorandum of Understanding, policy, industry development, creative partnerships and the shared commitment to strengthening Europe-UK relations in the audiovisual sector. From tax incentives to real production case studies—including major titles filmed across both territories—this conversation highlights why the UK and Italy continue to play a key role in the global film and High-End TV landscape.

– – –

This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

The post Memorandum of Understanding: interview with Adrian Wootton OBE, Chief Executive of British Film Commission and Jacopo Chessa, President of Italian Film Commissions Association appeared first on Fred Film Radio.

During Focus London 2025, the British Film Commission and the Italian Film Commissions Association signed a renewed Memorandum of Understanding (MoU), strengthening collaboration between the UK and Italian screen industries.

Building on the 2022 agreement, this new Memorandum of Understanding reinforces strategic cooperation, encourages inward investment, supports high-end film and television production, and promotes both countries as leading global filming

The partnership focuses on facilitating co-productions, enhancing joint international promotion, and organising reciprocal industry initiatives to stimulate new opportunities. Within this framework, Cinecittà’s International Department will support missions for Italian producers, further boosting collaboration between the two territories.

This podcast features an exclusive extract with Giovanni Sacchi, Director of Italian Trade Agency of and insights from the conference, offering a deeper look at the objectives, expectations and future opportunities arising from this enhanced bilateral agreement. Listeners will hear reflections on Italian Trade Agency policy, industry development, creative partnerships and the shared commitment to strengthening Europe-UK relations in the audiovisual sector. From tax incentives to real production case studies—including major titles filmed across both territories—this conversation highlights why the UK and Italy continue to play a key role in the global film and High-End TV landscape.

– – –

This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

The post Memorandum of Understanding: interview with Giovanni Sacchi, Director of Italian Trade Agency appeared first on Fred Film Radio.