FRED Film Radio - English Channel

We met in Venice with Jacopo Chessa, director of the Veneto Film Commission and also president of the Italian Film Commissions Association (IFC). With these two hats, we had a chat on both jobs and the reasons that brought him to the  festival and the Venice Production Bridge.

As president of IFC, Jacopo Chessa tells us about the renovation of the agreement between the association and the British Film Commissions. The agreement will be signed at Focus London; the novelty of it lays in the definition of outbound missions and incoming missions for both countries for producers to go and visit and experience new locations and situations that can be inspirational for new projects or right to be used for projects already in preparation. the aim of this new aspect of the agreement is fostering coproductions between the two countries.

Jacopo Chessa, director of Veneto Film Commission, announced that the new call for projects will be opened in early October, with a budget to be given out of 3 millions euros. The film commission is also very proud to be present this year at the Venice International film festival with 5 films, in different sections, that were helped and supported through the film commission offices.

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Josh Siegel, film curator at MOMA in New York is one of the members of the first ever jury at Giornate degli Autori. He is happy to be here as he has a great admiration for Gaia Furrer, the director fo Giornate degli Autori , and all her team. We talked about this experience and also about his job as film curator.

Josh Siegel is adamant on having an open mind as the only possible approach to the task of judging a film. The open mind is not only referred to the various genre of films you can potentially watch, but also to the ideas and sensibility of your fellow jurors, that have different taste that could be challenging to you but maybe could shed a new light on your vision of a film.

The joy of his job lies on the possibility of celebrating great directors on the recent or older past (like Chantal Ackerman, with a retrospective to open in two weeks time), as well as discovering new talents new directors he ‘ve never heard of before. Again, all is about being receptive.

It is true, Josh Siegel explains, that MOMA has been the first museum that considered cinema as an art form as well as painting and sculpture, photography, design , architecture. This oriented films in a larger context, in the whole story of modernism and contemporary art . In addition to that, MOMA has an audience  composed by scholars as well as regular film goers so our aim is to educate and entertain, that gives us  a chance of wider possibilities of programming.

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Emma Barboni, of the Emilia Romagna Film Commission comes to talk with Fred Radio about the participation of her institution at the Venice International Film festival, both for the usual meetings with producers and directors  at the VPB but also to support the films in the festival’s selections that were shot in Emilia Romagna region through the help of her office. One of these films is “The Kidnapping of Arabella” by Carolina Cavalli ,which stands out for its compelling storytelling, impressive visuals, and the region’s strategic role in film production and development.

“The Kidnapping of Arabella” is praised for its stunning cinematography and the portrayal of authentic settings. The film’s director and production team chose Emilia Romagna for its diverse landscapes and rich cultural backdrop. Locations in Ferrara, Ravenna, Rimini, Comacchio, Codigoro, and Ville di Comacchio contributed to creating a visually captivating narrative that transports viewers into the story accurately yet artistically. Some scenes intentionally blend in imaginative landscapes, making it challenging to recognise the actual locations on screen. This technique underscores Emilia Romagna’s versatility and its capacity to support both realistic and stylised storytelling. The regional landscapes serve as a vital asset, offering filmmakers a palette for creative expression.

The Emilia Romagna Film Commission plays a significant role in fostering international co-productions and attracting filmmakers worldwide. Recently, the region has secured agreements with entities like the Essen Film Area, aiming to boost coproduction projects with German and French partners. Such collaborations are part of Emilia Romagna’s broader strategy to reduce production costs and encourage international partnerships. New rules and incentives, such as lowering regional spending requirements for minority coproductions from 30% to 20%, make the region more attractive for filmmakers seeking cost-effective locations. These policies aim to facilitate coproductions that bring diverse stories to life while strengthening regional film infrastructure.

The festival also highlighted several promising projects in development, including works by regional production companies like Tempesta Film. Notable titles include  the film about Giovanni Pascoli, directed by Giuseppe Piccioni, and new projects in the pipeline that benefit from the region’s supportive infrastructure. The region’s talent pool is equally vibrant. Young actors and established filmmakers are increasingly choosing Emilia Romagna as their filming destination, thanks to its availability of high-quality locations and regional funding programs. Casting sessions for upcoming productions have already begun, with promising talent emerging from local auditions.

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An engaging new film, “Director’s Diary”, debuted at the 82nd Venice International Film Festival, offering a profound glimpse into both personal memories and collective history. Blending artistic expression with documentary elements, the film presents a compelling portrait of life through the eyes of its creator, capturing the essence of a turbulent era from 1957 to 1991. We met with the director Aleksandr Sokurov,  and the producer Alena Shumakova on the eve of the premiere at the Venice Festival.

“Director’s Diary” is based on a handwritten journal kept by the director over several decades, chronicling world events, social upheavals, and personal reflections. The decision to transform these pages into a film stemmed from a sense of necessity and artistic urgency. “I realized I needed to ‘bake’ this story,” the director explained, as the project was more than a personal endeavor—it aimed to resonate with a wider audience seeking understanding of a complex period. The film serves as a visual “sculpture of time,” thoughtfully selecting a range of pivotal moments. It is not a documentary in the traditional sense but an artistic exploration that leaves room for interpretation, avoiding didacticism or polemics. Instead, “it silently presents the most painful and significant aspects of human life,” the director added, inviting viewers to reflect rather than be pressed for a specific viewpoint.

“Director’s Diary” delves into themes that extend beyond the Russian experience, touching on broader European and global histories. The film weaves archival footage—primarily Russian—capturing social movements, political upheavals, and milestones in cinema history. “I wanted to include images that matter, not just for Russia but for everyone,” the filmmaker shared. The selection process was guided by emotional resonance and significance. Sokurov aimed to portray the faces of everyday people—workers, farmers, individuals living simple yet dignified lives. “I love my compatriots,” he states. The film captures moments of daily life—people traveling on the metro, street vendors—showcasing their inner strength and unique dignity.

“Director’s Diary” does not shy away from difficult topics but approaches them with a contemplative tone. The film avoids political condemnation or news-reporting style, favouring an emotional and artistic rendering of history. This approach allows the audience to engage deeply with the personal and collective stories presented, fostering empathy through visual storytelling. Sokurov points out that the film is an artistic exercise—not a commentary or critique but a poetic reflection of life’s ebb and flow. “From a multiplicity of things, we try to form a sculpture of time as it unfolds,” he explained, blending personal memory with societal observations.

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Nidhi Saxena is the director of the film “Secret of a Mountain Serpent”, one of the four films of the Biennale College program,  a compelling reflection on the themes of confinement, cultural identity, and the transformative power of dreams. Premiering at the 82nd Venice Film Festival and starring Adil Hussain, this introspective piece captures the stark realities faced by women living in mountainous regions, juxtaposed with their aspirations and inner strength.

“Secret of a Mountain Serpent” delves into the lives of women in isolated mountain communities, where the landscape often feels like a prison. The filmmaker emphasises the importance of change and perseverance. She reflects on how women in these areas dream of transformation — not just individual growth, but societal shifts as well. “It’s fascinating how women can change, how dreams can finally materialise,” she notes. The narrative explores their journeys of self-discovery, underlying that change often begins with a resolute desire to pursue one’s passions.

Set against the backdrop of Rajasthan and the northeastern regions of India, including Sikkim, “Secret of a Mountain Serpent” authentically portrays the diverse tribal cultures. “I want to show the essence of their dreams, their hopes, without necessarily highlighting conflict,” she explains.

Throughout the movie, the theme of transformation is palpable. Nidhi Saxena speaks about a long-held vision, rooted in her passion for storytelling and her cultural heritage. She believes that storytelling can be a catalyst for change, reflecting her conviction that dreams hold the power to reshape realities. “Change is a principle we follow,” she states. Whether addressing gender roles or societal expectations, the film underscores that even in the most remote corners, aspirations persist. The characters’ journeys symbolise a broader universal struggle to break free from constraints and realize their true potential.

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The documentary “Kim Novak’s Vertigo” offers an intimate portrait of the Hollywood star renowned for her role in Alfred Hitchcock’s masterpiece, Vertigo. Filmmaker Alexander O. Philippe sheds new light on Kim Novak‘s extraordinary life, revealing personal insights and emphasising her often-overlooked filmography. We have an interesting talk before the Premiere at the Venice Film Festival.

The documentary delves into Novak’s personal life, highlighting her deep connection with director Alexander O. Philippe. According to the filmmaker, their bond evolved quickly, allowing Novak to share candid reflections about her experiences in Hollywood. The director describes her not merely as the star of Vertigo but as a “wonderful person” who profoundly impacted his life.

Throughout the film, Novak openly discusses her feelings about Hollywood’s manipulative nature and her resistance to it. She recounts how the industry often manipulated her image and choices, emphasizing her desire to remain true to herself. Such honesty offers viewers a rare glimpse into the actress’s internal struggles—elements that are often glossed over in Hollywood portrayals.

A significant aspect of the documentary is its emphasis on Novak’s diverse and underrated filmography. While most audiences associate her with Vertigo, O. Philippe advocates for a broader appreciation of her work. He highlights films like “Stranger when we meet”, “Lylah Claire”, “Kiss me stupid”, and “Middle of the night”. “Her films are astonishing”, he remarks. “We need to bring her back into the spotlight and reevaluate her contributions to cinema”. The documentary suggests that Novak’s lesser-known works are ripe for rediscovery and deserve recognition on the same level as Vertigo.

One of the film’s intriguing elements is its narrative structure, which mirrors Vertigo’s spiral motif. Novak’s reasons for leaving Hollywood remain elusive, presented as a series of revelations that change with each retelling. Alexander O. Philippe emphasizes that life, much like Novak’s story, is complex and full of convoluted, non-linear truths.

This approach underscores Novak’s core belief in staying true to herself. She left Hollywood because she felt she could no longer remain authentic within its confines, a decision driven by her desire for integrity rather than external pressures.

“Kim Novak’s Vertigo” is more than a tribute; it’s an invitation to reevaluate one of Hollywood’s most enigmatic actresses.

For cinephiles and newcomers alike, “Kim Novak’s Vertigo” is a compelling portrait of a talented actress whose influence continues to resonate within cinema history. A must-watch for anyone interested in Hollywood’s golden age and the stories seldom told behind the camera.

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As happens very year, we are delighted to meet in Venice with Valentina Martelli, founder and CEO of ITTV International Forum & TechInEntertainment, to talk about the development of the event and the key moments to note of the forum that works like a bridge between finance and film industry, including the tech side of it that is  getting more and more substantial and important.

Valentina Martelli echoed the importance of quick, meaningful interactions. She highlighted how short, targeted encounters—sometimes only lasting two or three days—are crucial for fostering collaborations and maintaining industry momentum. These spontaneous networking moments often lead to new opportunities, emphasising the importance of face-to-face engagement in a digital age.

Discussing the creative process behind films, Valentina Martelli noted a significant shift in filmmaking approaches. Directors are increasingly using advanced tools, including AI, to enhance storytelling. Valentina pointed out that the integration of technology allows filmmakers to experiment more freely, blending traditional craft with innovative solutions. This approach not only broadens creative horizons but also opens doors for new forms of expression within the film industry.

The conversation touched on the ongoing influence of artificial intelligence in filmmaking. From training algorithms using extensive libraries to streamlining production workflows, AI offers a range of possibilities. Valentina Martelli emphasised that while AI can assist in various stages—such as location scouting with tools like Google Maps—it is ultimately human ingenuity that drives meaningful storytelling. Films like “Rainbow” serve as a testament to how technology and human creativity can coexist, pushing cinema toward exciting new frontiers.

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Meeting Mads Mikkelsen and Sofie Gråbøl at the Venice a international film Festival before the premiere of their film, we discover the compelling blend of humor and profundity in “The Last Viking”, a film that captivates audiences with its dark comedy and unexpected twists.

Mads Mikkelsen, portraying a character comparable to a six-year-old, brings innocence and clarity to the narrative, emphasizing the film’s themes of understanding and support amid chaos. His portrayal highlights the movie’s core message: even amidst madness, there is a persistent desire for connection and understanding. Sofie Gråbøl’s character complements this dynamic, contributing to the film’s multifaceted emotional landscape.

Directed by the acclaimed Anders Thomas Jansen, “The Last Viking” is celebrated for its ability to weave deep existential themes into a narrative filled with satire, horror, and humor. The film explores the internal multitudes within each character, portraying complex personalities that reveal the multiple layers of human psychology. The director’s talent for creating interest in even the smallest roles adds to the film’s richness, making the cast’s performances particularly engaging.

The film is praised for its ability to tackle large themes like life, death, and morality through an absurd lens, wrapping profound ideas in insanity and satire. It’s a surreal journey that demolishes straightforward storytelling, encouraging viewers to reflect on the human condition while entertained by its darkly comic edge.

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The film “Becoming Human (Chiet Chea Manusa)” by Polen Ly offers a profound meditation on the intersection of Cambodia’s history, culture, and evolving identity. Presented within the prestigious Biennale College Cinema programme at Venice Film Festival, we met with the director of this debut feature to talk about memory, spirituality, and generational dialogue.

“Becoming Human” was inspired by Cambodia’s rich cinema history, particularly the vibrant film industry of the 1940s to 1960s. Polen Ly, whose personal roots trace back to the country’s golden age of filmmaking, chose an old cinema as the film’s central setting—a cultural landmark representing a bygone era before the tragedy of the Khmer Rouge.

“Becoming Human” explores the concept of spirits as more than supernatural entities—they reflect the collective memory and resilience of Cambodian people. The spirit of the cinema, facing demolition, symbolizes the displacement caused by rapid modernization and urban development. The narrative introduces a young boy, representing the future, who encounters the cinema’s spirit, bridging the gap between old and new Cambodia. This relationship mirrors ongoing societal tensions—where traditions are challenged by progress and the scars of historical trauma linger beneath contemporary growth. The film invites viewers to contemplate where cultural spirits go when physical spaces vanish, prompting reflections on heritage preservation amid change.

Polen Ly, the film’s director, emphasizes the film’s poetic and meditative approach, maintaining these qualities throughout its duration. The cinematic language employs rich visuals, capturing the architecture and atmosphere of the old cinema, evoking deep sensory responses.

The film serves as a visual homage to Cambodia’s architectural legacy, which, in the director’s words, “gives a deep feeling, a deep sensation to be there”.

“Becoming Human” also functions as an introspective reflection on Cambodia’s history of trauma—from the genocide to modern societal upheavals. The old cinema acts as a sanctuary—a space where characters can escape painful realities, paralleling how the nation as a whole grapples with its past.

With “Becoming Human” the filmmaker invites audiences to consider the universal aspects of trauma and remembrance. The film underscores that cultural and spiritual preservation are vital amid modernization. It advocates for a collective effort to bridge generational divides, emphasizing that healing and transformation are ongoing processes rooted in understanding and compassion.

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In our meeting with Beatrice Borgia, president of the Film Commission Torino Piemonte, who was in Venice for the usual meetings and also for the opening film “La Grazia” by Paolo Sorrentino, which was shot in Torino and helped by the film commission in its production phase, we talked about the film and its importance and about how Torino and Piedmont area continue to be a fertile ground for new projects, talent development, and efficient filming processes.

Many industry insiders highlight Torino Piemonte as one of Italy’s most film-friendly regions. Its quick authorization processes and accommodating attitude make it an attractive location for directors and producers. The region’s ability to facilitate shooting schedules discreetly and efficiently is praised by filmmakers who appreciate working in an environment that balances professionalism with flexibility. This reputation not only benefits local productions but also attracts international projects seeking a smooth filming experience.

The Venice Film Festival serves as a major platform for unveiling cinematic excellence and fostering cross-cultural collaborations. With films like “La Grazia” and others in the recent past, the region’s close ties with the festival scene enhance its visibility and prestige. A notable aspect of the region’s film ecosystem is its focus on nurturing new talent. The Film Commission Torino Piemonte has launched initiatives aimed at supporting young directors and emerging voices in cinema. For the first time, a dedicated development program was launched to identify and boost up-and-coming filmmakers, allowing fresh ideas to take root in the region. Such efforts are viewed as crucial for maintaining a dynamic, innovative film landscape that evolves with broader industry trends.

From assisting renowned directors like Paolo Sorrentino to promoting local talents, the area’s infrastructure and community support play a vital role. The region balances its rich territory and discreet charm with the ambition of competing on an international level, making it a sought-after location for film projects that wish to combine scenic beauty with professional excellence.

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