FRED Film Radio - English Channel

PODCAST | Chiara Nicoletti interviews Bernardo Bernardo, actor in Lullaby to the sorrowful mistery.

To listen to the interview, click on the ► icon on the right, just above the picture

Bernardo Bernardo is back on Fred after Berlinale to talk again about Lav Diaz’s Lullaby to the Sorrowful Mistery screening at the 34th Torino Film Festival in Festa Mobile. The actor describes the mythological figure he represents in the film, the Tikbalang and to guide the audience through Lav Diaz’s films. Working in one of Diaz’s films or watching one of his films wants every person to actually experience the film and the process. When Bernardo Bernardo is not acting in a film or a play, he recharges his batteries through karaoke and the art of crystal healing.

Lullaby to the sorrowful mistery. Interconnected narrative threads on the Philippine Revolution of 1896-1897 against Spain characterize Hele sa Hiwagang Hapis–the story of the ballad Jocelynang Baliwag, which became the hymn of the revolution; Gregoria de Jesus’ forlorn search for the body of the Father of Philippine Revolution Andres Bonifacio; the journey of our national heroes’ fictional book characters Simon and Isagani; the role of the Philippine mythical hero of strength Bernardo Carpio and the half-man, half-horse Tikbalang/Engkanto, on the Filipino psyche. It is a marriage of history, literature and mythology.

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PODCAST | Angelo Acerbi interviews Raymond Phatanavirangoon and David Lindner, directors of the films Apprentice and Die Reise mit Vater in the Torino Film Lab. 

Raymond Phatanavirangoon and David Lindner talk about their films and their experience as producers with the Turin Film Lab.

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PODCAST | Angelo Acerbi interviews Dean Matthews Ronalds and Tom Mulloy, director and actor of the film #Screamers.

Dean Matthews Ronalds teamed up with his pal Tom Mulloy to create this mockumentary where all is fake even if it seems totallly real. A seemingly non-narrative film where narratìve is actually everything, and all is studied and prepared to look casual. Everything look normal and day-to-day life so that we forgot that this is an horror flick. But when the horror comes, it hits hard. The look of the film is due to a specific prototype of camera which production was then abandoned , so this is the only film that used it…pretty amazing, to be honest.

#Screamers: Tom Brennan and Chris Grabow are the creators of Gigaler, a popular platform which publishes Screamers, clips with a high content of horror. One day, they receive a video of a girl in a cemetery and a disquieting presence behind her; it immediately goes viral. Intrigued about the story behind the clip, Tom and Chris discover that the protagonist might be Tara Rogers, a young girl who disappeared a long time ago.

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PODCAST | Angelo Acerbi interviews Anna Biller, director of the film The Love Witch.

Anna Biller knows cinema, she fed on classics from both America and Europe and all those influences are there, some more visible than others , in this vintage-like movie. The visual result is astounding: Biller tells us how she and her d.o.p. managed to give us some Technicolor feel even today. Her rendition of femininity and feminism, through the lead character, does the rest to make the movie a peculiar must-see.

The Love Witch: California, the 1960s. When beautiful Elaine, who calls herself a love witch, is widowed under mysterious circumstances, she decides to move from San Francisco to a small town where magic and orgiastic rites are tolerated. Here, through potions and spells, she can begin her search for the ideal man. Often with bloody consequences…

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PODCAST | Chiara Nicoletti interviews Hany Adel, actor of Clash.

Eshtebak- Clash by Mohamed Diab is an ensemble film and it has an ensemble cast. Among the actors trapped in a truck in the Egypt of post revolution, is Hany Adel, who plays an egyptian-american journalist that, for this reason, is treated even more badly than the other prisoners. Adel remarks on the importance of this film to show what is the situation nowadays in Egypt but moreover to highlight how important is dialogue in the resolution of every conflict.

Clash. Cairo, summer of 2013 – two years after the Egyptian revolution. In the wake of the ouster of Islamist president Morsi, a police truck full of detained demonstrators of divergent political and religious backgrounds roams through violent protests. Can the detainees overcome their differences to stand a chance of survival?

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PODCAST | Chiara Nicoletti interviews Ed Lachman, jury president of the 34th Torino Film Festival.

To listen to the interview, click on the ► icon on the right, just above the picture

Ed Lachman is the President of the Jury at the 34th Torino Film Festival. To his work as cinematographer we owe the poetic realism of masterpieces like the greatest film directed by Todd Haynes: Far Away from Heaven, I’m not there, the miniseries Mildred Pierce and the melò Carol. Lachman defines the elements and aspects he looks for while watching a film and in Turin while judging it and reveals who are the colleague cinematographers that he appreciates the most: Luca Bigazzi ( in his partnership with Sorrentino), Vittorio Storaro, Dick Pope, the 2016 Gran Premio Torino Christopher Doyle and last but not least Gianni Di Venanzo, considered the father of italian cinematography.

Ed Lachman. President of the jury Edward Lachman – ASC (USA) is a revered and award-winning cinematographer who has collaborated with directors such as Todd Haynes, Steven Soderbergh, Robert Altman, Sofia Coppola, Werner Herzog, Wim Wenders, Volker Schlöndorff and Jean-Luc Godard, among others. He is also a visual artist who has exhibited in many museums and galleries throughout the world. His work in Far From Heaven (2002) and Carol (2015) garnered him two Academy Award nominations and he received an Emmy nomination for the HBO miniseries Mildred Pierce (2011). In addition to fiction films, he has also worked in documentaries and experimental genres.

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PODCAST | Angelo Acerbi interviews Tamara Drakulic, director of the film Vetar.

To listen to the interview, click on the ► icon on the right, just above the picture

Tamara Drakulic is a lively and nice girl, with wonderful pink hair, who made a second feature as a pure director ( the screenplay is not hers), and she is really proud of that. She made herself do the direcor job, she did not even changed a world in the dialogues. the result is a delicate film about coming of agein a summer in Montenegro. Love is magic and the d.o.p. gives this back with mesmerising photography in all the love scenes, that are always in a forest like in a modern fairy tale.

Velar. Sixteen-year-old Mina is spending the summer with her father Andrej on the Bojana river, in Montenegro. Lazy and apathetic, Mina displays great disinterest in her surroundings, while her father, a confirmed smoker, might be getting more serious about his girlfriend. To her great annoyance, Mina falls in love with a kite surfer, Saša, who is older than her and engaged to Sonja. A love triangle with no evident consequences but which will leave a deep mark on the adolescent’s universe.

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PODCAST | Chiara Nicoletti interviews Christopher Doyle, cinematographer winner of the Gran Premio Torino.

To listen to the interview, click on the ► icon on the right, just above the picture

 The Gran Premio Torino at the 34th Torino Film Festival goes to cinematographer Christopher Doyle. When he was 32 years old, he received a calling and understood his vocation in cinema and devoted his life to cinematography. We owe Doyle the psychedelic and hypnotic photography of eight films by director Wong Kar Wai, including masterpieces such as 2046 and In the Mood for love. He wanted to be the Mick Jagger of cinematography but was defined by critics as more of a Keith Richards, a definition that he’s now quite comfortable with. Doyle has also directed several films, among which there is Hong Kong Trilogy: Preschooled Preoccupied Preposterous.

Christopher Doyle was born in 1952 in Sydney and ran away aboard a Norwegian merchant ship when he was eighteen. He has raised cattle in Israel, worked as an oil driller in India and studied traditional Chinese medicine in Thailand, and he became a photographer in Taiwan during the Seventies. During those same years, he was reborn as DuKe Feng (which means “like the wind”), his Chinese name. He is fluent in Chinese – both the Cantonese and the Mandarin dialects – and also speaks English, French, Spanish and Japanese. In Taiwan, in the early Eigthies (by chance, he says, encouraged by his friend Edward Yang, who was debuting as a director), he also encountered his art and his vocation: cinematography, and he is one of the greatest in recent decades. His work with Wong Kar-Wai is legendary (eight movies together) and he has also worked with Stanley Kwan, Chen Kaige, Zhang Yimou and many other Chinese and Taiwanese filmmakers. But he has also collaborated with Gus Van Sant (Psycho and Paranoid Park), Jim Jarmusch (The Limits of Control), Barry Levinson (Liberty Heights), Neil Jordan (Ondine), Philip Noyce (The Quiet American), M. Night Shyamalan (Lady in the Water), Sebastián Silva (Magic Magic), and Alejandro Jodorowsky (Poesia sin fin), and has directed a number of movies, including the beautiful portrait of three different generations, Hong Kong Trilogy: Preschooled Preoccupied Preposterous. Rather than theorize, he prefers to encourage people to “do,” “invent,” “express themselves;” his gaze has deep, full grandeur, as well as accents of crystalclear poetry of the quotidian. He considers himself a “passage” between the person in front of the camera and the audience member, and believes that being an “outsider from the inside,” as he has been for much of his life (“a white guy in a yellow world”), is vital for becoming a good cinematographer, able to capture things which stand out, which people recognize but have never consciously noticed. To this free, eccentric and profound eye, a shot “is always the first shot.”

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PODCAST | Angelo Acerbi interviews Melody Roscher, producer of the film Christine.

To listen to the interview, click on the ► icon on the right, just above the picture

Melody Roscher tells us all about building up such a challenging film and how difficult was raising the money for an uncomfortable film on a real woman who so little was known of. Rebecca Hall was the blessing they were waiting for as she brought the film to the highest possible level, with an outstanding performance.

Christine. The early 1970s. Christine Chubbuck is a young journalist, awkward and introverted. She works for a local broadcaster in Florida and despite her desire to grow professionally, she is in conflict with the TV director, who wants news items which grab the spectators’ attention, to the detriment of the quality of the news. Deeply hurt, already unstable and insecure because of her inability to make friends with the others, Christine falls into a state of neurosis which leads her to commit a shocking act on live TV. Based on a true story.

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PODCAST | Chiara Nicoletti interviews Hadas Yaron and Don McKellar, members of the jury of the 34th Torino Film Festival.

Actress Hadas Yaron and actor-director Don McKellar are at the 34th Torino Film Festival as members of the official jury chaired by Ed Lachman. They haven’t established a criteria to judge the first, second and third film in the official competition but on FRED they reveal the elements and the aspects that they’re moved by while watching a film and evaluating it. From the musicals to horror films, McKellar and Yaron confess their “cinematographic” guilty pleasures.

Hadas Yaron (Israel), grew up in Tel Aviv, studied acting and debuted in cinema at fourteen years of age. In 2012, she won the Volpi Cup at the Venice Film Festival for her performance in Fill the Void by Rama Burshtein, in which she plays a young Jewish girl from Tel Aviv who is forced to become engaged to her brother-in-law after her sister dies. In 2014, she won Best Actress at the Torino Film Festival for Felix and Meira by Maxime Giroux. At the 33rd Torino Film Festival, she received the 500X Award – Fiat for her performance in La felicità è un sistema complesso by Gianni Zanasi (2015).

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