In “The Sparrow in the Chimney“, director Ramon Zürcher returns with the third installment of his “animal trilogy,” exploring the delicate tensions of family life. Set in a pristine ancestral home, the film follows Karen and Markus as they host a birthday gathering disrupted by the arrival of Karen’s sister Jule, sparking the unravelling of long-buried secrets and emotional wounds.

Zürcher discusses his inspiration to portray the fragility of human connections and the invisible forces that shape family dynamics.

Balancing intimate moments with broader social commentary, he reveals how the image of the trapped sparrow became a metaphor for emotional entrapment and the desire for release, culminating in a cathartic, near-tragic finale.

The post “The sparrow in the chimney”, interview with director Ramon Zurcher appeared first on Fred Film Radio.

In an exclusive interview at the 27th Far East Film Festival, Tony Leung Ka-fai shares valuable insights into his role in “Legend of the Condor Heroes – The Gallant“. Based on Jin Yong’s iconic novel, the film offers a fresh interpretation that honors the source material while incorporating modern nuances.

“Legend of the Condor Heroes – The Gallant” follows the story of martial arts legends Guo Jing and Huang Rong, but what truly captivates Leung Ka-fai is his portrayal of the villain Ouyang Feng. In this adaptation, Tony’s Ouyang Feng is a complex character—malicious yet driven by a thirst for power, aiming to obtain the legendary “Nine Scrolls.” Leung Ka-fai describes this role as an exciting challenge, as it allowed him to explore the darker side of a classic villain and bring depth and nuance to an iconic character.

Leung Ka-fai explains how his childhood immersed in cinema shaped his approach to acting, emphasizing the importance of understanding Jin Yong’s literary universe. He notes that Jin Yong’s novels, which are experienced through reading rather than watching, stimulate the imagination differently from visual storytelling. This inspired his approach to roles like Ouyang Feng—adding authenticity and layered complexity to the character.

He also discusses his collaboration with Tsui Hark, describing it as a union of dreamers that fosters spontaneous creativity and mutual respect. Leung Ka-fai’s passion for wuxia and his dedication to capturing the spirit of classic stories shine in every scene.

Additionally, he shares how his lifelong love for cinema—from childhood visits to the theater to decades as an actor—has given him a profound understanding of storytelling and character development. This blend of personal history and craft makes his portrayal of Ouyang Feng especially compelling.

“Legend of the Condor Heroes – The Gallant” is set to become a landmark wuxia film, seamlessly merging tradition with innovative cinematic techniques. For fans and newcomers alike, Leung Ka-fai’s insights provide a fascinating perspective on a project that reimagines a beloved classic through a contemporary storytelling lens.

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“Chinatown Cha Cha Cha“, directed by Luka YuanYuan Yang, which was presented at 27th Far East Film Festival, is a vibrant documentary that explores the dynamic entertainment scene of San Francisco’s Chinatown from the 1930s to today.

During our interview, Luka shared how her artistic residencies in New York in 2018 sparked her interest in Chinese women performers and their often-overlooked stories within American cultural history. She revealed that her research involved extensive visits to Chinatowns, collecting oral histories, and analyzing archives, including the influential book Forbidden City: The Golden Age of Chinese Nightclubs by Trina Robbins. Luka YuanYuan Yang described discovering the Grant Avenue Follies and performers like Pat CHIN and Marleen LUKE through online sources and social media. The emotional stories of these women, who continued dancing and entertaining despite societal challenges, became the heart of her film. Her goal was to create a documentary that not only showcases performances but also captures the spirit, resilience, and identity of these women and their community.

The film offers viewers a rich glimpse into Chinatown’s history, emphasizing the enduring cultural vibrancy despite hardships. Luka’s interview highlighted her dedication to shedding light on forgotten legends and ensuring their stories are celebrated again. The documentary’s premiere at the Far East Film Festival marked a significant milestone in bringing these stories to a wider audience.

Throughout production, Luka YuanYuan Yang connected deeply with the performers and their personal stories, which she discusses in the interview. The emotionally powerful scene where a performer reflects, “Kobe E kept dancing all her life,” exemplifies how perseverance and passion can transcend time and challenges.

This documentary is more than a tribute to Chinatown’s entertainment history; it is a powerful narrative of cultural resilience and community strength that continues to inspire new generations.

The post “Chinatown Cha Cha Cha”: Interview with Luka YuanYuan Yang appeared first on Fred Film Radio.

In an inspiring interview at the 27th Far East Film Festival, Sylvia Chang shared insights into her extraordinary career and her powerful role in “Daughter’s Daughter“. A true icon of Asian cinema, Sylvia Chang reflected on receiving the prestigious Golden Mulberry award, describing it as an “encouragement” after decades dedicated to storytelling. She emphasized that such recognition not only honors her lifelong work but also fuels her passion for pushing cinematic boundaries. Sylvia Chang  approached her portrayal of Jin Ai-xia with exceptional dedication, revealing that she prepared for over five years—investing significant time, thought, and emotion—culminating in a compelling performance. She shared that her deep immersion into the character was so profound that, on the set’s first day, she felt she had already “become” Jin Ai-xia. To deepen her understanding, Sylvia even wrote a book inspired by her experiences, documenting her daily thoughts and emotional journey during filming. This meticulous process highlights her commitment to authentic storytelling—she doesn’t just act; she fully lives her characters.

“Daughter’s Daughter” boldly explores LGBTQ+ themes in Asia—a story Sylvia describes as “courageous” for its honest depiction of love, loss, and societal responsibility. The film portrays two women in love, navigating tragedy and moral dilemmas, including the sensitive subject of embryo donation after loss. Sylvia emphasized how the narrative promotes greater understanding and acceptance of LGBTQ+ experiences in a society where such stories are rarely told. Her compelling portrayal fosters empathy, shedding light on complex human emotions and cultural challenges, making Daughter’s Daughter an essential film of our time.

Throughout our conversation, Sylvia Chang reflected on her lifelong journey in cinema—an ongoing pursuit of learning and artistic growth. She shared how each role she’s played has added depth and authenticity to her craft, particularly maternal characters, which she treats as unique individuals. Sylvia expressed admiration for her peers and mentors, recalling how every collaboration taught her something new. Despite lacking formal acting training, she credits her education to hands-on experience—working alongside talented actors and filmmakers who have shaped her storytelling skills. For her, cinema is a relentless quest for truth, continually inspired by new techniques and creative ideas. She joked that her only fear is running out of ideas—an ode to her endless passion for filmmaking.

Her commitment to storytelling extends beyond acting—Sylvia Chang also writes scripts and directs projects, constantly seeking fresh ways to challenge herself and portray human stories with nuance and emotional depth. Her dedication is evident in “Daughter’s Daughter” , which she considers not just a film but a mission to voice overlooked and marginalized experiences.

This heartfelt interview reveals the profound philosophy behind Sylvia Chang’s illustrious career. Her devotion to authentic storytelling, her courage to explore sensitive subjects, and her continuous desire for growth serve as an inspiration to us all.

The post Daughter’s Daughter, Interview with actress Sylvia Chang appeared first on Fred Film Radio.

In an insightful interview at the 27th Far East Film Festival, director Park Ri-woong discusses his evocative film, “The Land of the Morning Calm“. This film, whose title serves as a historical nickname for Korea, poignantly reflects the serene facade of a coastal village while contrasting it with the pressing societal issues confronting modern Korea. Park Ri-woong reveals that while the title initially suggests tranquility, it is deeply anchored in a narrative that examines the profound themes of barrenness—not just in the physical landscape, but in the emotional and social fabric of contemporary Korean life.

Set in the coastal village of Na Mayon, the film operates as a microcosm where the lives of various characters intersect. One notable character is a captain, initially portrayed as unlikable, whose backstory gradually unveils the scars and struggles that shape his identity. Park Ri-woong skillfully employs these characters to delve into deep themes such as immigration, community disintegration, and the burdens individuals bear in an increasingly isolating society. He emphasizes that the motivations driving the characters are not merely personal; they serve as a reflection of wider societal dilemmas, particularly the decline in birth rates and the rising disillusionment among the youth.

During the interview, he elaborates on his approach to character development, stating he aimed to craft a protagonist compelling enough to draw viewers’ curiosity, encouraging them to invest emotionally in “The Land of the Morning Calm“. The director cast Yangi Kyung as the fiercely hopeful mother figure, drawing inspirations from real-life experiences, including elements from his own family history. This connection adds an authentic layer to the narrative, allowing the struggles depicted in the film to resonate more deeply with the audience.

Additionally, Park Ri-woong shared compelling insights into the production process of “The Land of the Morning Calm“. With only 28 days allotted for filming, every scene was meticulously planned and executed. He recounts the challenges faced during production, particularly a pivotal scene where the character Yongsu falls into water, necessitating careful considerations about safety and logistics. Such challenges reflect the gritty reality of filmmaking, where creative ambition must often contend with practical limitations.

Furthermore, the director expresses his feelings about the film’s recognition at the Busan Film Festival. While he aspired to win awards, he was astonished by the level of acknowledgment it received, especially after his debut film, Girl on the Bulldozer, did not receive the attention he had hoped for. This experience reinforced for him the value of perseverance in storytelling and reaffirmed his commitment to meaningful cinema.

In conclusion, Park Ri-woong‘s insights into “The Land of the Morning Calm” unveil a rich narrative tapestry where the simplicity of village life sharply contrasts with complex, pressing issues. The film invites viewers to reflect on the nature of community, resilience, and hope in the face of adversity.

The post “The Land of the Morning Calm,” interview with Park Ri-woong appeared first on Fred Film Radio.

In a revealing interview during the 27th edition of the Far East Film Festival, I had the pleasure of speaking with Roger García, a distinguished film producer and a key advisor for the Asian Film Awards Academy, as well as an artistic consultant for the Hainan Island International Film Festival. Roger García enthusiastically shared his cinematic journey, identifying himself primarily as a cinephile who has devoted his life to celebrating the art of film.

When introducing himself to younger generations unfamiliar with his work, García emphasized his origins as a viewer and critic at heart. His deep-rooted passion for cinema propelled him into diverse roles within the industry, where he not only curates films for prestigious festivals but also produces engaging projects that resonate with his own artistic interests. He believes the essence of his work lies in showcasing films that ignite curiosity and foster engagement in audiences.

During our insightful conversation, we explored the challenge of presenting festival films to broader audiences. García highlighted the tension between cinema as a revered art form meant for the big screen and the modern viewer’s preference for small screens. He noted that many films crafted for theatrical release often struggle to reach audiences beyond festival circuits. This led to a compelling discussion on how film festivals serve as vital communal spaces that cultivate shared experiences among viewers, in contrast to the solitary nature of home viewing.

As we navigated the current state of film consumption, García underscored the shift in audience preferences toward binge-watching series on streaming platforms. He expressed intrigue about how this transformation affects storytelling and duration in the cinematic experience, pondering whether we might witness the regular emergence of longer-form narratives in festival settings. His insightful analysis of the evolving film landscape drew parallels between binge-watching and traditional cinema experiences, sparking dialogue on how festivals might adapt to this evolution in viewer habits.

Throughout the discussion, García shared his admiration for directors who challenge conventional storytelling methods, emphasizing that impactful cinema transcends genres and delves into unique themes. He expressed keen interest in filmmakers like Harmony Korine and Steven Soderbergh, whose works push the boundaries of cinematic expression. For García, what matters most is the intention behind a film—the “reason for its existence”—as he continuously seeks out narratives that offer fresh perspectives and challenge viewers’ perceptions.

In this enlightening interview, Roger García reflected on his extensive career while voicing his excitement for the future of cinema. As we concluded our conversation, it was clear that his passion for storytelling remains as vibrant as ever.

The post Interview with Producer and Writer Roger Garcia appeared first on Fred Film Radio.

Celina Murga presented her film ” The Freshly Cut Grass” at the Trento Film Festival, as a tribute to her role of member of the International Jury and also as a part of the focus on Argentina that the festival has put together for this edition. It is a film on love and ten need for passion and for new excitement, and the effects and consequences of  dangerous personal choices. The film has Martin Scorsese as executive producer.

Celina Murga has decided in her new film “The Freshly Cut Grass” to tell two similar stories of love and cheating in parallel. The choice of having a man who cheats on his wife, and a mature woman who cheats on her husband, both with younger people, with similar dynamics, has been the excuse to analyse the differences of perception and involvement and passion between men and women.

The post “The Freshly Cut Grass”, interview with the director Celina Murga appeared first on Fred Film Radio.

After closing the 38th edition of the Bolzano Film Festival – Bozen, “The Mariana Trench (Marianengraben) – La Fossa delle Marianne” by Eileen Byrne is coming out in Italian movie theaters, with Trent Film, from April 24th. 

The film is based on Jasmin Schreiber’s book and it tells the story of Paula (Luna Wedler), a young woman grieving the loss of her little brother, who meets on her path a widower, Helmut, who’s also dealing with loss. 

It all started, for Eileen Byrne, at the Books at Berlinale, an initiative of the film festival where a selection of books is presented to representatives of the audiovisual industry as they might be perfect for a film adaptation. 

Jasmin Schreiber’s book resonated with Byrne who decided to adapt it for her directorial debut. “Tragicomedies are my way of looking at life, Jasmin Schreiber’s book touched me” says Eileen Byrne. 

Key to the film are the two protagonists of the film, playing Paula and Helmet: Luna Wedler and Edgar Selge. 

The post “The Mariana Trench”, interview with director Eileen Byrne appeared first on Fred Film Radio.

At the 40th Lovers Film Festival, FRED Film Radio interviewed actor James Duval where he presented the screening of “Totally F***ed Up”, a drama film written and directed by Gregg Araki considered a seminal entry in the New Queer Cinema genre.

Thirty years after the release of “Totally F***ed Up“, the film is still in the spotlight. “I think it speaks to our present because it’s so honest”, says James Duval. “I was 18 when I met Gred and made the movie. It changed my life. I think there’s a raw, naked honesty and emotion laid wide open and bare for everybody to see is what this film helped. I think people respond more now than they ever have to. At the time I was looking for direction. I was very young and impressionable, but I didn’t know who I was. I didn’t know if I accepted myself. I was a bit suicidal. I didn’t know if I was going to make it to 21. And all of a sudden, I read Greg’s screenplay about kids my age feeling completely left out and outcast. And everything that was in that script made me feel less alone, a little bit more connected to a world that none of us felt connected to”.

The “Teenage Apocalypse Trilogy“ has become a cult classic in cinema. What kind of impact did it have on the actor? “That film was a catalyst of change for me as a person, on a personal and professional level. After I had finished making the series of films with Greg, I found it difficult to make movies because I wasn’t getting meaningful scripts”, remembers James Duval. “I wasn’t getting scripts that were challenging the status quo, and pushing things forward, and really getting into the internal core of what we felt and who we are. I will always have a special place in my heart for movies like Totally Fucked Up or The Doom Generation because of what they meant to me and how they changed me as a person. I don’t want to sound crazy. But after I had done Independence Day and Gone in 60 Seconds, I got a little freaked out by the business. Because the movies were fun, and they’re different. They weren’t meaningful in the same way. There was so much more money involved, and so many people were so connected on how they could use these movies to keep themselves relevant”.

There is a war on human rights in Europe and the United States. There is a real emergency that is putting the lives of millions of people at risk. “It’s quite shocking because I never thought we would be back here, to be honest. We’ve made great strides, but I think in other ways it’s worse than it’s ever been. It’s gone back to before I was born”, explains James Duval. “When you have students who are being silenced, who are being removed from the country because of things they say, because of what they feel, because of who they love: that’s a big problem. Maybe I’m lucky from my limited scope living in Los Angeles, which is a very liberal city, but I can say that the new generation is bigger than the baby boomers. The generation was so large that they could change the functioning of society. Everything that was happening in society could be changed because they were a large enough group to impact it. But the new generation is larger than the baby boomers. They’re doing it in a way that we were fighting for our whole lives, and it’s very natural to them. We have to continue to speak up, which goes back to something I learned when I met Greg during the AIDS epidemic. Silence is death, so don’t be silent”.

One of the unforgettable roles of James Duval‘s career is Frank in “Donnie Darko” by Richard Kelly. How has the actor seen the film grow over the years? “I signed on to the movie because Jason Schwartzman was playing Donnie Darko. But after I signed on, he fell out. And we got this really talented kid named Jake Gyllenhaal. And it just became a different movie”, remembers the actor. “My heart broke after we played at Sundance, and nobody wanted to pick the movie up. Christopher Nolan, who had done Memento at the time, is responsible for helping us get distribution. It came out in the theater three weeks later. We made no money. The movie disappeared. Two years later I was walking through a store and somebody just said: ‘Frank’. I turned to look and it was a security guard who just saw the movie. And what had happened slowly over time, I just started to hear more and more about the movie. And then a couple of years after that it became a huge hit on DVD. So to go from a complete failure to being more successful than I could imagine is a strange thing”.

The post Lovers Film Festival 40, interview with actor James Duval appeared first on Fred Film Radio.

At the 40th Lovers Film Festival, FRED Film Radio interviewed directors Felipe Matzembacher and Marcio Reolon to talk about “Night Stage”, a film presented in competition.

“NightStage”‘s characters discover their fetish for sex in public places, risking everything. Is the choice to tell this story also linked tothe desire to portrait sex as something that should not be hidden? “I think that’s something very important. We always had films connected with this idea of desires, sexuality, eroticism”, explains Felipe Matzembacher.“Nowadays, I think we are entering an era in which people are becoming more prudish, more conservative. We wanted to make a film that put desire as a central force. Desire is the kind of force that can confront capitalism. Because sometimes the idea of being part of a major or mainstream society allows you since you repress your desires. That was something very important to us: the idea that you can fit in this more conservative, capitalist and neoliberal society if you hide your desires, if you suppress them. And then we create these characters that have this very strong force trying to combat this”.

Do the directors think that with their films they are helping to erase years of stereotypes of queer representation in cinema? “I think what is relevant for us when we are developing our characters is todo complex lives there”, says Marcio Reolon. “So we don’t think of our characters as absolute representatives ofone segment of society, but we always look at them as whole complex human beings. And I think this adds layers to these characters and therefore adds multiplicity, adds this possibility of different lives, of different existences, rather than like reducting them to one specific kind of existence or one kind of behavior”.

“NightStage” has a strong visual component. How did directors imagine it and what were their references? “This is something that crossed many personal lines of research that we do for a long time. When we were developing this story in the beginning we thought it was a noir”, says Felipe Matzembacher.“But then later we realized it’s like this next step of noir that would be like the erotic thrillers. And then we really dive into these films. But also it’s a reflection of our history as artists, because both Marcio and I were actors before becoming directors. So we put a lot of importance on how to stage the idea of performance and how to put them on screen”. “Stage is a very important word to look at this film, because as we’re talking a lot about performance, about these characters that perform specific public lives to hide their private lives”, explains Marcio Reolon. “They are actors and we wanted the film to have this performance even on its aesthetics. Even the lights are performative. For us, this was very relevant. We also got inspiration from New Hollywood cinema. And it was really fun to do a film. We felt so much freedom by doing it because we always wanted Night Stage to be playful”.

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