FRED Film Radio - English Channel

We met with Gus Van Sant before the screening of his new film “Dead Man’s Wire”, at the 82 Venice International Film Festival, to talk about a story inspired by a real 1977 Indianapolis kidnapping. Van Sant reflects on how the film balances entertaining absurdity with serious issues like media manipulation and police conduct, providing viewers with both laughter and food for thought.

At the heart of “Dead Man’s Wire” lies a startling true story. In 1977, a man named Tony orchestrated an elaborate plan to kidnap a mortgage company president during a presentation. His goal was to demand an apology to be broadcast live on television, as part of a highly unconventional ransom.  Gus Van Sant highlights how the real event was unpredictable—Tony essentially improvised while having a well-prepared scheme. His demands, including a neck-attached gun and televised apology, showcase a bizarre yet pointed critique of corporate and media culture.

Gus Van Sant emphasises that the “Dead Man’s Wire” meticulously portrays the police response of the era—a stark contrast to contemporary tactics. In 1977, police officers were generally more understanding, often treating suspects with a degree of empathy. The film visually underscores this difference through genuine archival footage, showing how police agents approached such incidents with less force and more patience. Van Sant notes that this softer approach reflected a time when law enforcement was more integrated with the community, a sharp contrast to today’s more paramilitary style that often perceives citizens as enemies.

The film’s closing scenes feature raw footage illustrating how makeshift the kidnapping was—adding a layer of authenticity that resonates with audiences. Gus Van Sant highlights that this handcrafted nature of the crime demonstrates its bizarre and almost playful quality. These real clips reinforce the film’s ability to blend Hollywood storytelling with documentary elements, emphasising that even serious crimes can be touched by humor and human complexity.

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The film “Straight Circle” made a compelling debut at the 82nd edition of Venice International Film Festival,  in the Settimana della Critica section, offering viewers a thought-provoking exploration of war, borders, and nationalism. Directed by Oscar Hudson and with the twins Luke and Elliot Tittensor as the main characters, the film intricately weaves themes of conflict and unity through the story of two soldiers who lose their sense of identity amid a stark desert landscape. With stunning set design, nuanced performances, and symbolic storytelling, “Straight Circle” stands out as a significant cinematic work presented during the Settimana della Critica.

During our interview, it emerges how “Straight Circle” employs visual techniques to emphasize cultural differences and the divisions that separate opposing sides. The opening sequence, a split-screen depicting two contrasting cultures, sets the tone for the film’s deep dive into cultural identity. Oscar Hudson, drawing on his anthropology background, crafted a universe where the soldiers’ customs and rituals—though exaggerated and playful—serve as allegories for broader societal divisions. The hybrid British cultures, infused into the world-building, create a surreal environment that underscores the arbitrary nature of borders and cultural boundaries, as well as the nonsense of every conclict.

Actors Luke and Elliot Tittensor (who are twins) portray the two soldiers, playing a central role in conveying the complex emotional layers of the story. Their physical transformations—gestures, postures, and accents—were meticulously worked out with a team including movement and acting coaches. The goal was to visually differentiate the two characters progressively, illustrating their internal journeys from confusion to clarity.

“Straight Circle” is a visually arresting and thematically rich film that resonates with contemporary global issues. Its innovative use of visuals, cultural symbolism, and deep character work makes it a standout at Venice Film Festival, promising to spark conversations about identity, conflict, and the human condition well beyond the festival’s closing night.

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During the 82nd Venice International Film Festival, FRED delved into the powerful six-episodes series “Etty“, inspired by the diaries of Etty Hillesum, a Holocaust survivor. Director Hagai Levi shared with us insights on how the series connects the past to present-day issues, emphasizing its urgent relevance in today’s world. By blending personal history with modern themes, through the six episodes of this work it offers viewers a profound reflection on resilience, identity, and the shadow of history.

Hagai Levi explained that “Etty” tries to make her story accessible and relatable to a new generation. “At first glance, it might seem like a story set in occupied Amsterdam, but what makes it so powerful is how it reflects issues we still grapple with today,” he remarked. Nodding to recent events like the October 7th attacks and ongoing conflicts in Gaza and Ukraine, the Holocaust imagery and historical trauma is brought back to enhance the awareness that still lacks so much into public consciousness.

“Etty” stands out as a timely and poignant portrayal of survival and hope, hoping that that viewers will see Etty’s story not just as a historic account but as a mirror reflecting ongoing societal struggles, considering their own responses to adversity and to the importance of remembering history.

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During the 82nd edition of Venice International Film Festival we spoke with director Anuparna Roy for the film “Songs of the Forgotten Trees”, presented in Venice 82 in the Orizzonti section. This is the first work of an indian female director that tells, with delicate and sweet sensibility, the story of two housemates in modern Mumbai, struggling daily with a male-centered indian society that is still entangled in attitudes and behaviours that are really difficult to change.

During our interview with FRED Film Radio, our guest Anuparna Roy expressed her thoughts on how the contemporary indian society needs to change towards a more stable equality, balancing the chaos of the cities and the intimacy of peoples’ desires. In a story that was mainly self-produced, and that expresses a big urgency from a female artist and director that have a powerful voice to listen to.

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Global Critics Venice Voice, hosted by internationally renowned film critic Rita Di Santo, is the daily podcast of the 82nd Venice International Film Festival, produced by FRED Film Radio directly from the Lido di Venezia.

Each episode takes listeners inside the Festival with exclusive and thoughtful conversations with leading international film critics, and in-depth analysis of the year’s most anticipated films.

Rita Di Santo and her guests bring to life the unique atmosphere of Venice, offering a rare insider’s view of the stories, talent, and cinematic moments that make the Mostra one of the world’s most celebrated cultural events.

In this episode of Global Critics Venice Voice Rita Di Santo hosts:

Marc van de Klashorst (International Cinephile Society, Netherlands), David Katz (VICE and the Quietus, UK) and John Bleasdale (Time out, Italy).

The post Highlights and film critics from the 82nd Venice Film Festival – episode 3/09 appeared first on Fred Film Radio.

Interview during the 82nd edition of Venice International Film Festival with Kaouther Ben Hania, director of the film “The voice of Hind Rajab”. The production, part of the official selection in Venice Film Festival 2025, takes us to the West Bank in January 2024, where volunteers from the Red Crescent try to rescue a 6-year-old girl from a car in Gaza, attacked by the Israeli Army.

During the conversation, Kaouther Ben Hania reflects on the significance of the support of Brad Pitt or Joaquin Phoenix as producers, noting that Hollywood’s involvement helps shed light on a story that often remains in silence. While she admits uncertainty about how the film will resonate with the Academy, her commitment remains firm all the way to the Oscars: “I will vote for myself.”

The film depicts the several -and crucial hours- between the first call between the Red Crescent and Hind, the little girl, and the tragic ending of the story. During that time, the volunteers try to establish a coordination with the Israeli Army in order to send an ambulance and help her. The film is based -and shows- the real audios recorded that day.

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The FRED Award, a heartfelt honor bestowed annually, recognizes exceptional talent in thoughtful and courageous filmmaking and acting. This year, the 2025 FRED Award was presented during the Venice Film Festival to director Dag Johan Haugerud, attending the festival as a jury member for the Giornate degli Autori section.

He is the third director in 15 years to receive this recognition, a testament to his film’s profound emotional resonance and intellectual depth. “After watching your film, viewers often leave with a different mindset—they feel elevated, better” noted the award’s motivation, praising the director’s capacity to evoke empathy and reflection through their nuanced characters and dialogues.

“Sex” stands out for its delicate handling of complex themes such as gender, sexuality, and social roles. The directors emphasize their intent to confront internal contradictions and societal expectations without resorting to spectacle. “We aim to invite empathy and understanding, showing characters as flawed and authentic” Dag Johan Haugerud explained. Their approach aligns with the principles of cinematic authenticity, valuing silence, ambiguity, and emotional realism—traits that resonate strongly with the Fred Award’s ideals.

Dag Johan Haugerud openly acknowledge their inspirations, citing filmmakers like Woody Allen, Bertolucci, and documentary master Fred Wiseman. “We admire Wiseman’s observational method—they achieve a perspective that’s both curious and respectful” said the director. The influence of Wiseman’s documentary style is evident in their meticulous portrayal of everyday life, capturing the subtle nuances of human behavior. Their admiration extends to a desire to craft films that serve as a mirror to society, encouraging reflection rather than spectacle.

A key element in Dag Johan Haugerud‘s filmmaking is their ability to observe life closely. “Much of what I do is simply observing people around me” Dag Johan Haugerud shared. This pursuit of authenticity fuels their storytelling, allowing them to create characters and dialogues that feel genuine. Their background as novelists further enriches their narrative craft, blending literary depth with visual storytelling. They see both writing and filmmaking as two sides of the same artistic coin—intimate, creative, and rooted in language and observation.

Creating a film is a collective effort, and Dag Johan Haugerud emphasizes the importance of a supportive set environment. “Making sure everyone feels happy and free to express themselves is vital” he said. His approach involves fostering a collaborative atmosphere where actors and crew can bring their best to the project. The directors’ dedication to maintaining a positive environment translates into performances and images that are emotionally truthful and resonant.

Dag Johan Haugerud’s trilogy, comprised of “Sex”, “Love” and “Dreams” was shot over a relatively short period and showcased in major festivals, including Berlin and Venice. While the order of release varies across countries, the thematic continuity is deliberate. “We believe the trilogy should conclude with ‘Love,’ ending on a high, optimistic note” Dag Johan Haugerud explained. Watching the films sequentially reveals a journey of human connection, emotional complexity, and hope—core elements that define their cinematic voice.

Oslo, Dag Johan Haugerud’s hometown, features prominently in his films, embodying the city’s openness and cultural richness. “I grew up near Oslo, and the city hall, with its artwork and welcoming spirit, symbolises community for me” he shared. Its recurring presence in his work underscores a deep connection to place and identity, providing a backdrop that balances personal memory with universal themes.

Despite his recent successes, Dag Johan Haugerud remains committed to ongoing projects—writing a new book, working on stage plays, and developing future films. “Winning awards like the Golden Bear is incredible, but it’s just part of the journey” he reflected. His dedication to exploring new creative avenues continually fuels his artistic evolution, promising more thought-provoking work to come.

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Venice Critics Week hosts innovative voices in cinema, and director Evi Kalogiropoulou‘s film “Gorgonà“ stands out as a compelling example of sci-fi dystopia that explores female empowerment. At the Venice Film Festival, directors and actresses discussed the creative choices behind her powerful narrative, highlighting how the film’s focus on psychological tension and mythological themes offers a fresh perspective in contemporary cinema.

“Gorgonà” reimagines the myth of Medusa within a dystopian future, placing the monster not merely as a villain but as a symbol of female strength. The director explained that portraying Medusa was an empowering experience, emphasizing the creature’s dominance over space and her role as a protagonist. “The concept was straightforward: Medusa is an assertive force. It was easy to see her as the central figure because she controls the environment around her.” This inversion of traditional mythological roles contributes to the film’s message about female power.

A central element of “Gorgonà” is the tense relationship between two young women, whose interactions reflect deeper themes of autonomy and resistance. Director and actresses shared that her approach focused on authenticity and emotional depth, allowing the actresses to embody complex psychological states. “I just came back from a period of reflection; I was drawn to her energy,” she said. This nuanced acting creates a gripping narrative of tension that is both personal and symbolic, reinforcing the film’s dystopian critique.

Director’s inspiration to craft a queer universe stems from her desire to challenge traditional narratives and highlight marginalized voices. She mentioned that her references included various science fiction and dystopian works that push boundaries and question societal norms. “Creating a world where different identities coexist is very important to me,” she expressed. The dystopian setting serves as a backdrop for examining societal control, gender roles, and the resilience of female characters.

The decision to set “Gorgonà” within a dystopian universe was strategic, aiming to amplify its themes of empowerment and psychological struggle. The director explained that dystopia offers a space where societal constraints are intensified, making it easier to explore issues of power, identity, and rebellion. “Science fiction allows us to imagine new realities where women can be protagonists and forceful figures without conforming to stereotypes,” she noted. This genre choice enhances the film’s relevance and its capacity to provoke thought about gender and authority.

“Gorgonà” stands as a vivid example of how mythological narratives can be reinvented within contemporary genre contexts. Director’s vision combines powerful symbolism with innovative storytelling, encouraging viewers to rethink preconceived notions about monsters, women, and authority. Her work demonstrates that science fiction and dystopia can serve as potent tools to illustrate the resilience and complexity of female characters fighting for agency in oppressive worlds.

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Interview during the 82nd edition of Venice International Film Festival with Kathryn Bigelow, director of the film “A House of Dynamite”, and screenwriter Noah Oppenheim. The production, in competition in Venice Film Festival 2025, describes the reaction of a fictional White House when a nuclear missile is aimed to Chicago, with only 18 minutes to react.

During their interview with FRED Film Radio, Kathryn Bigelow explained how the film shows the lack of tools of the American administration during an attack of this caliber. Noah Oppenheim described the process of writing the script, taking in account every level of the Federal Government involved in an emergency like this.

“A House of Dynamite” is divided in three different chapters -‘Rashomon’ style- and takes us to the deep roots of the American administration: from the military to the Oval Office. Actors such as Idris Elba or Rebecca Fergusson embody every level of the civil servant that have to face the same question: what to do during a nuclear attack?

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Global Critics Venice Voice, hosted by internationally renowned film critic Rita Di Santo, is the daily podcast of the 82nd Venice International Film Festival, produced by FRED Film Radio directly from the Lido di Venezia.

Each episode takes listeners inside the Festival with exclusive and thoughtful conversations with leading international film critics, and in-depth analysis of the year’s most anticipated films.

Rita Di Santo and her guests bring to life the unique atmosphere of Venice, offering a rare insider’s view of the stories, talent, and cinematic moments that make the Mostra one of the world’s most celebrated cultural events.

In this episode of Global Critics Venice Voice Rita Di Santo hosts:

Brian Viner (The Daily Mail, UK), Max Borg (The Film Verdict, Switzerland) and Daniel Kothenschulte (Frankfurter Rundschau, Germany).

The post Highlights and film critics from the 82nd Venice Film Festival – episode 2/09 appeared first on Fred Film Radio.