FRED Film Radio - English Channel

PODCAST| Mario Galasso interviews Walter Rodríguez and Catalina Saavedra, actors of the film Marilyn.

You might remember Catalina Saavedra: she was the lunatic Nana in the unforgotten black comedy La Nana – The Maid, by Sebastian Silva (2009) – she plays the mother to an outstanding young actor (Walter Rodríguez) for the first time on the big screen, playing a troubled teen looking for love and acceptance, whose identity is painfully refused by the little community he tries to cohabit with: of course, the story takes a very, very dark turn.

Marilyn:  There’s not much going on in this part of rural Argentina where a shy young man named Marcos lives with his family. Theirs is a modest existence, where gender roles are clearly demarcated. The hot summer doesn’t make life any easier, but money needs to be earned and the herd of cattle must be kept together. Marcos manages to carve out little islands of freedom during his routine; in these moments he likes to put make-up on his childlike face or slip into colourful dresses behind closed doors. Carnival is just around the corner; this year’s event will change Marcos’ life as dramatically as the family’s unexpected relocation. Martín Rodríguez Redondo’s cinematic debut is a tender portrait of youth and initially repressed self-discovery, told with serene understatement, devoid of guiding music. The roar of motorbikes promises both freedom and danger and, although there appears to be no escape from this world, the situation is far from hopeless for at some point young Federico appears on the scene. The images are contemplative and the narrative linear, yet the course taken by the film’s seemingly predictable trajectory is nonetheless surprising. A story based on true events.

The post Walter Rodríguez, Catalina Saavedra – Marilyn #Berlinale2018 appeared first on Fred Film Radio.

PODCAST| Chiara Nicoletti interviews Babak Jalali, director of the film Land.

After many pre-production years, Babak Jalali’s third feature film Land has finally “landed” at the 68th Berlinale in the Panorama Section. The director, born in Iran but living in London, describes the long journey to the realization of the film and how the italian contribution, starting with the Torino Film Lab, was essential to the making of Land. The film, according to Jalali, is a a European co-production but it’s Italian in its soul and roots. Why do Europeans know nothing about that often forgotten world of American Indian reservations? Babak Jalali tries to answer while describing his intention of showing the American Indians’ situation with no pity but an empathetic approach. The key to the power of the film is also the cinematography so Jalali comments on his collaboration with DOP Agnes Godard.

Land:  The Yellow Eagle 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 waiting begins to get his body back to the Reservation to be buried. The youngest surviving son Wesley, is an alcoholic. His brother’s death doesn’t really hit him as his only aim during the day is to get hold of beer. Wesley is in daily contact with the white population who run the liquor stores right outside the reservation. This uneasy relationship reaches unpleasant levels when acts of violence break out and he is directly affected. The eldest son, Raymond, is a recovering alcoholic with a wife and two sons. Although he feels a sense of responsibility for the extended family, he seems to feel 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.

To discover more about the film, click here.

The post Babak Jalali – Land #Berlinale2018 appeared first on Fred Film Radio.

PODCAST| Mario Galasso interviews Janet van den Brand, director of the film Ceres.

Born in Oostvoorne, the Netherlands in 1989, Janet van den Brand studied film directing at Sint-Lukas Brussels University College of Art and Design and the Royal Academy of Fine Art (KASK) in Ghent. Her short films have been invited to several festivals, for example her graduation film, Rosa, Anna’s Lil’ Sis, screened in the 2013 Generation section of the Berlinale. Ceres is her debut documentary feature. Fred Radio met Janet during the Berlinale to discuss her first feature documentary, Ceres.

Ceres:  Piglets are born, and calves, lambs and chicks too. Crops are sown, planted and harvested. Animals are slaughtered. The camera stays close to the action, following Koen, Daan, Sven and Jeanine through their everyday lives. All four kids are growing up on farms that have been passed down from generation to generation. From a young age they pitch in, learning to bear responsibility and say goodbye. Will they take over their parents’ farms one day? In her feature-film debut, Janet van den Brand shows us young people, their intimate bond with nature, their perceptions and wishes. She accompanies her protagonists through all four seasons, drawing a realistic portrait of the agricultural life devoid of false romanticism and yet deeply poetic.

The post Janet van den Brand – Ceres #Berlinale2018 appeared first on Fred Film Radio.

PODCAST| Chiara Nicoletti interviews Marcelo Martinessi, director of the film Las Herederas (The Heiresses).

For many years, Paraguay’s cinema simply ceased to exist and now directors like Marcelo Martinessi are taking over the job and giving the country a voice and an audiovisual world. At the 68th Berlinale is the first time director Martinessi presents Las Herederas – The Heiresses portraying a 60 year old woman whose life changes completely in a few months. First time directors often decide to treat coming of age stories but Marcelo Martinessi’s choice is due to the fact that he believes there’s no limit to a coming of age, we can always start all over again and we can always grow and learn new things. These women’s tales are also a way through which Martinessi managed to portray Paraguayan’ society.

Las Herederas (The Heiresses):  Chela and Chiquita, both descended from wealthy families in Asuncion, Paraguay, have been together for over 30 years. But recently their financial situation has worsened and they begin selling off their inherited possessions. But when their debts lead to Chiquita being imprisoned on fraud charges, Chela is forced to face a new reality. Driving for the first time in years, she begins to provide a local taxi service to a group of elderly wealthy ladies. As Chela settles into her new life, she encounters the much younger Angy, forging a fresh and invigorating new connection. Chela finally begins to break out of her shell and engage with the world, embarking on her own personal, intimate revolution.

To discover more about the film, click here.

The post Marcelo Martinessi – Las Herederas (The Heiresses) #Berlinale2018 appeared first on Fred Film Radio.

PODCAST | Katherine Fairfax Wright, director.

Katherine Fairfax Wright is the director, editor, cinematographer, and producer of the feature-length documentary Behind the Curtain: Todrick Hall, which premiered at SXSW 2017 and is now available digitally on iTunes, Amazon, Google Play, etc.  Prior to that, Wright produced the Watts-set gangster drama Imperial Dreams, which won the Best of NEXT Audience Award at the Sundance Film Festival and is now a Netflix Original. Wright is the director (along with Malika Zouhali-Worrall), editor, and cinematographer of the critically-acclaimed feature-length documentary Call Me Kuchu, which tells the story of the last year in the life the first openly gay man in Uganda. The film premiered at the Berlin Film Festival, went on to play 200+ festivals, win 20+ awards.  It’s been distributed around the globe and continues to screen for high level diplomatic audiences and at advocacy events worldwide. Wright’s print and video work has been published by The New York Times, Human Rights Watch, CNN, The Huffington Post, and Human Rights Watch. Katherine is an alumnus of the Chaz and Roger Ebert Directing Fellowship, the Film Independent Documentary Lab, and the Film Independent Producing Lab.  Filmmaker Magazine named her one of the “25 New Faces of Independent Film.” Katherine was raised in Los Angeles and graduated with a double-major in Film Studies and Anthropology from Columbia University.

Discover more about Katherine here.

More information about Call Me Kuchu here.

The post Katherine Fairfax Wright – Berlinale Talents appeared first on Fred Film Radio.

PODCAST| Angelo Acerbi interviews Alonso Ruizpalacios, director of the film Museo.

Alonso Ruizpalacios wanted to make a heist film, but then he realized that the genre was not enough for this story; so he turned the film into a road movie, and a coming of age movie and a perfect depiction of what urban Mexico was in those days, the fabulous 80’s.

Museo:  Perennial students Juan and Wilson are planning a daring coup. They intend to break into the National Museum of Anthropology in Mexico City and steal precious Mayan, Mixtec and Zapotec artefacts, in particular the funerary mask of King Pakal. While their families celebrate Christmas they get down to business, just like a couple of seasoned criminals. Everything goes off without a hitch and, with their sports bags stuffed full of treasures, they return home to see on the news how their deed is described as an attack on the entire nation. Only now do they realise the gravity of their actions. Feeling more than a little queasy, they set about fencing their haul. The ensuing road movie takes us from the impressive Mayan ruins of Palenque to the chic seaside resort of Acapulco. Even when Juan and Wilson are behind the wheel, their endeavour has long since gone off the rails. Revisiting the true events of 1985 when it was initially thought that professionals had pulled off the heist, the film is as surprising as the original case. Like its heroes, it too has a crafty way of getting down to the nitty-gritty, reinventing itself with every twist, and nodding to several film genres along the way.

The post Alonso Ruizpalacios – Museo #Berlinale2018 appeared first on Fred Film Radio.

PODCAST| Angelo Acerbi interviews Kathrin Resetarits, actress of the film L’ Animale.

Kathrin Resetarits talks with us about her role in L’ Animale, where she plays a mother and wife betrayed by her husband’s inevitable choices, while she witnesses unconsciously her daughter’s coming of age. An intense role, for a character she understands, even if she would have reacted in a totally different way, as she wants to point out…

L’ Animale:  In Austria the final school exam is known as the ‘Matura’. Unlike the German word ‘Abitur’ (from the Latin ‘abire’ meaning ‘to walk away’), the Austrian term also includes the notion of coming of age. Mati wants to become a veterinary doctor, like her mother, and therefore leave the confines of her small-town universe for Vienna. But is she ready for this future? Standing in her ‘Matura’ dress with her long hair scraped back into a tight bun and her neck hair shaved bare, she’d be the first to admit she looks like a clown. Mati loves to spend time with the boys bombing around the quarry on her motocross bike. When one of the girls from her school resists when one of Mati’s mates begins sexually harassing her at a disco, Mati spits in her face. But, just like her parents’ marriage, Mati’s motocross gang also ruptures once notions of friendship, love and sexuality become more pressing. In her second feature-length drama, Katharina Mückstein uses clear words and images and cool synthesiser beats to tell the story of an inscrutable young woman on the brink of ‘walking away’. Her parents’ silence tells us that being mature and facing up to the future doesn’t have anything to do with your age.

The post Kathrin Resetarits – L’ Animale #Berlinale2018 appeared first on Fred Film Radio.

PODCAST| Angelo Acerbi interviews Katharina Mückstein, director of the film L’ Animale.

Katharina Mückstein directed a film about self conscience, a moment of struggle and growth for a young girl, but also in a different way for her father . A strong statement about the problems our world has to deal with sexuality and self recognition. She has clear idea on which will trigger the social discussion and development in the future and she helps understand her film more.

L’ Animale:  In Austria the final school exam is known as the ‘Matura’. Unlike the German word ‘Abitur’ (from the Latin ‘abire’ meaning ‘to walk away’), the Austrian term also includes the notion of coming of age. Mati wants to become a veterinary doctor, like her mother, and therefore leave the confines of her small-town universe for Vienna. But is she ready for this future? Standing in her ‘Matura’ dress with her long hair scraped back into a tight bun and her neck hair shaved bare, she’d be the first to admit she looks like a clown. Mati loves to spend time with the boys bombing around the quarry on her motocross bike. When one of the girls from her school resists when one of Mati’s mates begins sexually harassing her at a disco, Mati spits in her face. But, just like her parents’ marriage, Mati’s motocross gang also ruptures once notions of friendship, love and sexuality become more pressing. In her second feature-length drama, Katharina Mückstein uses clear words and images and cool synthesiser beats to tell the story of an inscrutable young woman on the brink of ‘walking away’. Her parents’ silence tells us that being mature and facing up to the future doesn’t have anything to do with your age.

The post Katharina Mückstein – L’ Animale #Berlinale2018 appeared first on Fred Film Radio.

PODCAST| Angelo Acerbi interviews Paul Williams, director of the film Gurrumul.

Paul Williams directed a documentary film about a music icon who did not like to be interviewed, who did not want to be alone, who was blind since his birth and that was a incomparable huge natural talent. Internationally acclaimed, Gurrumul never wanted or needed to become famous, because his real and only world were his family and his village community.

Gurrumul:  Three days after Geoffrey Gurrumul Yunupingu approved the film, he died. In Yolngu lore the name, image and voice of the recently departed is retired from all public use. A very rare exception has been made by Gumatj and Gälpu clan leaders to make Gurrumul’s legacy available for everyone. The self-taught musician with the ‘voice of a higher being’ (Sting) was born blind and played the guitar left-handed and upside down. His family and community in the remote Galiwin’ku (Elcho Island) gave their shy boy unconditional support in the knowledge of his great gift. His music was propelled into Australia’s mainstream in the 1990s by Michael Hohnen and Mark Grose of Skinnyfish Music, two white fellas with strong bonds to the Yolngu people. Hohnen became Gurrumul’s close companion, both on and offstage, when his musical career also took off internationally. Combining Yolngu and more contemporary Western rhythms and melodies, this intricate portrait builds a bridge between contrasting worlds. Director Paul Williams respectfully delves into the Aboriginal community through unobtrusive cinematography and provides an integral sense of this amazing man’s spirit.

The post Paul Williams – Gurrumul #Berlinale2018 appeared first on Fred Film Radio.

PODCAST| Angelo Acerbi interviews Michael Hohnen, actor of the film Gurrumul.

Micheal Hohnen is a musician and producer who met Gurrumul 20 years ago and became his friend and counsellor and music partner, bringing him through a professional and personal journey, with albums and tours and personal crisis, in a continuous balancing between the village and family world Gurrumul was not willing to leave and the modern and hectic music industry.

Gurrumul:  Three days after Geoffrey Gurrumul Yunupingu approved the film, he died. In Yolngu lore the name, image and voice of the recently departed is retired from all public use. A very rare exception has been made by Gumatj and Gälpu clan leaders to make Gurrumul’s legacy available for everyone. The self-taught musician with the ‘voice of a higher being’ (Sting) was born blind and played the guitar left-handed and upside down. His family and community in the remote Galiwin’ku (Elcho Island) gave their shy boy unconditional support in the knowledge of his great gift. His music was propelled into Australia’s mainstream in the 1990s by Michael Hohnen and Mark Grose of Skinnyfish Music, two white fellas with strong bonds to the Yolngu people. Hohnen became Gurrumul’s close companion, both on and offstage, when his musical career also took off internationally. Combining Yolngu and more contemporary Western rhythms and melodies, this intricate portrait builds a bridge between contrasting worlds. Director Paul Williams respectfully delves into the Aboriginal community through unobtrusive cinematography and provides an integral sense of this amazing man’s spirit.

The post Michael Hohnen – Gurrumul #Berlinale2018 appeared first on Fred Film Radio.