FRED Film Radio - English Channel

With “Bugonia”, released in Italian theaters by Universal Pictures on October 23, Emma Stone returns to Venice competition with Yorgos Lanthimos, alongside another actor from the director’s “family,” Jesse Plemons, in a claustrophobic, semi-dystopian story about the CEO of a multinational corporation who is kidnapped by two young men obsessed with conspiracies, convinced that she is an alien bent on destroying planet Earth.

A remake of Jang Joon-hwan’s 2003 South Korean film “Save the Green Planet!”, the film, Lanthimos explains, “speaks about the present and how we are disconnected from reality.”

“Bugonia” marks the 4th collaboration between Emma Stone and Yorgos Lanthimos and the third film project to be produced by the actress.

Emma Stone speaks about her work with Lanthimos and their trust in each other: “every character brings their own set of challenges and things to uncover  but I trust Lanthimos’ barometer so much that when we’re doing these things, I know I can rely on him to tell me when it’s off or when I’m going in the wrong direction”.

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Interview during the 82nd edition of Venice International Film Festival with Potsy Ponciroli, director of the film “Motor City”. The production, part of the section Venezia Spotlight in Venice Film Festival 2025, takes us to the 1970’s in Detroit, a city full of music, violence and a vibrant life.

In his interview with FRED Film Radio, our guest told us about the main aspect -not only technical, but also artistic- of the film: it contains almost no dialogue, giving space for a myriad of song, noises of the city… and particularly the motors of the cars. Potsy Ponciroli also explained how, after premiering ‘Old Henry’ in Venice 2021, he was trying to come back to the festival.

The cast of “Motor City” is full of stars: Alan Ritchson, Shailene Woodley and Ben Foster are some of them. Ritchson plays John Miller a man who ends up in prison after falling in love with the girlfriend of a local gangster. After getting out of jail he will seek revenge.

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Interview during the 82nd edition of Venice International Film Festival with Mark Jenkin, director of the film “Rose of Nevada”. The production, part of the section Orizzonti in Venice Film Festival 2025, plays with the idea of a boat that disappeared 30 years ago and suddenly returns to a fishing village.

In his interview with FRED Film Radio, our guest told us why he usually work as cinematographer, editor, writer or even sound designer in his own films: out of love for every discipline. Besides, Mark Jenkin explained how he came up with the first image of the film during the pandemic, and how a series of conversations with his wife shaped the project.

“Rose of Nevada” takes us to a fishing village with a trauma in its past: a boat, ‘The Rose of Nevada”, disappeared 30 years ago with the whole crew onboard. Now the boat suddenly reappears, and George Mackay and Callum Turner, the lead protagonists of the film, began to work in the ship. Little they know it will be a travel they won’t forget.

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Interview during the 82nd edition of Venice International Film Festival with Noah Baumbach, director of the film “Jay Kelly”, and actors Laura Dern and Adam Sandler. The production, in competition in Venice Film Festival 2025, tells the story of Jay Kelly, a movie star in the style of the protagonist: George Clooney.

During their interview with FRED Film Radio, our guests told us about how fun it was to reflect in a film many aspects of their everyday life. Noah Baumbach talked about the script, written by actress Emily Mortimer and himself, and Adam Sandler underlined how wonderful it was to work with George Clooney.

“Jay Kelly” shows us the life of a star that tries to reconnect with his family. He drops a shooting in order to travel to Europe and share some time with one of his daughters, but that trip won’t end up as he first expected.

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The 82nd Venice Film Festival is honored to present Jihan K, the director and producer of the compelling documentary “My Father and Qaddafi,” showcased in the out of competition section. More than just a film, it’s a profound exploration of family secrets, historical reckoning, and the search for identity against the backdrop of a nation scarred by dictatorship and civil war. In this exclusive interview, Jihan K delves into the emotional landscape that fueled the film’s creation, revealing the personal stakes that made this project a decade-long labor of love.

For Jihan K, debuting “My Father and Qaddafi” at the Venice Film Festival represents a dream realized. The director speaks passionately about Venice being the ideal stage for her film. She explained that this project took nearly a decade to complete. “During the application process, my heart was always in Venice,” she admitted.

The core of “My Father and Qaddafi” lies in its effort to humanize Libya, moving beyond the monolithic image shaped by decades of political turmoil and Gaddafi’s autocratic rule. Jihan K articulates a clear vision: to foster empathy and understanding for the Libyan people.

Through personal anecdotes and unearthed family history, Jihan K paints a vivid portrait of a nation yearning for recognition beyond its political struggles. “My hope would be that people can walk away from the film feeling a more human, empathetic connection to Libya, to Libyans, and to have a more personal connection to it, as opposed to always being monopolized by politics and a dictator,” she states.

Jihan K’s journey into the past was driven by an urgency to preserve not only the memory of her father but also her own connection to a rapidly changing Libya. She recalls the impact of finding her father’s body 19 years after his disappearance. When the country descended into civil war, the stakes became clear: “I realized there’s a chance that not only will I lose the memory of my father, but potentially my entire connection with Libya. This realization became the catalyst for “My Father and Qaddafi”.

The film delves into the complexities of knowing a person, especially one who has become a symbol. Jihan K reflects on the challenges of piecing together her father’s identity from fragmented memories, family stories, and historical accounts.

Jihan K wanted to know the man behind the myth. That’s why, despite the difficulties, she tried to find the deeper forces that drove her father because “when someone becomes immortalized as a martyr, you also come up with new barriers, different kinds of barriers, where people don’t want to actually… The truth can also be hidden because of wanting to keep him as a perfect being.”

When asked about the most rewarding aspect of completing “My Father and Qaddafi,” Jihan K speaks of creating a portrait of her father that she finds peace in. It allowed her to step out of the role of a “passive spectator” and become an active agent. It’s a film that has changed the director’s life.

The post “My Father and Qaddafi”, interview with Director Jihan K appeared first on Fred Film Radio.

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:

Kerem Akca (Post, Turchia), Oraz Kereibayev (98mag, Kazakhstan) and Peter Bradshaw (The Guardian, UK).

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Interview during the 82nd edition of Venice International Film Festival with László Nemes, director of the film “Orphan”. The production, in Competition in Venice Film Festival 2025, takes us back to Hungary in 1957

In his interview with FRED Film Radio, our guest told us that the story of the film comes directly from his father’s, whose father was deported to a nazi concentration camp. László Nemes considers that the past is a source of lessons for the present, and tries to convey that look through the life of a 13 year old teenager.

“Orphan” begins with a little prologue in 1949, when we meet our protagonist. Then, in 1957, Andor tries to survive in a Hungary that lives in the shadows of the Second World War and under the rule of a totalitarian regime.

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Mihai Mincan returns to the 82nd Venice Film Festival, this time in the Orizzonti section with “Milk Teeth,” a film delving into a distinct period of Romanian history. In this interview, Mincan discusses the deeply personal inspiration behind the film, the challenges of working with a child actor, and the crucial role of sound design in creating a pervasive atmosphere of unease.

Mincan explains that the film’s genesis was a militia dossier from 1989 detailing the disappearance of a young girl. Initially, the idea was to directly adapt the event. However, the actual case was far too gruesome and tragic to translate directly to the screen. Instead, he retained a single, potent image: a girl with a red bucket full of nutshells on her way to the garbage. This seemingly simple image unlocked a flood of memories for Mincan, as he was the same age as the girl in 1989, often sent on similar errands by his parents. This personal connection became the cornerstone of the film.

“I wanted to explore that feeling of rupture, of fragmented time that I felt back then,” Mincan reflects. He emphasizes that this feeling speaks to the anxieties of the world we live in today. Despite the historical setting, “Milk Teeth” ultimately transcends time and place. During the editing process, Mincan and his editor kept returning to a central theme: “This is a film about loneliness.”

Emma Ioana Mogos, who plays the lead role, delivers a remarkably nuanced and captivating performance. Mincan praises her intuitive nature and ability to access emotions authentically. He admits that he initially anticipated challenges in working with a child actor, particularly in a film where she appears in nearly every frame. However, his experience with Mogos proved to be surprisingly rewarding. “It turned out that it’s actually far better to work with children than with adults,” Mincan states.

He attributes this to children’s lack of self-consciousness and their willingness to fully immerse themselves in the role. Despite the gap between Mogos’s childhood in the 2000s and the film’s 1989 setting, she intuitively grasped the universal feeling of loneliness, enriching her portrayal with a depth that belied her age.

The sound design of “Milk Teeth,” crafted in close collaboration with Nicolas Becker and Ange Gupert, plays a crucial role in creating the film’s immersive and unsettling atmosphere. Mincan described to the two French sound designers the unique quietness of his childhood in socialist Romania – a quietness tinged with a dark, threatening undercurrent.

Mincan recounted memories of a world with fewer cars, where the sounds of nature – wind rustling through leaves, distant voices – were still audible. Yet, beneath this apparent tranquility, lurked a sense of unease. “You felt that things are quiet, but it’s not the type of quietness in which you go to this beautiful cabin in the mountains and just hear nature. You can feel that something beneath it, always like a really threatening element there, and that something might erupt at the same time.” Becker and Gupert masterfully translated these evocative descriptions into a soundscape that amplifies the film’s sense of dread and suspense.

Mihai Mincan’s “Milk Teeth” is a powerful and evocative exploration of childhood, memory, and the subtle anxieties of a bygone era. Through its compelling narrative, stunning performances, and haunting sound design, the film promises to be a thought-provoking and unforgettable addition to the Orizzonti section of the Venice Film Festival 2025.

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At the 82nd Venice Film Festival, Fred Film Radio’s Laura Della Corte interviewed Chen Zhuo, the visionary behind the groundbreaking AI film “Zheng Yi Sao” and CEO/Founder of Fizz Dragon. Chen Zhuo shared her excitement about showcasing this innovative project in Venice. “I feel very excited. It’s a thrilling new experience for me and my team,” she commented.

“Zheng Yi Sao” narrates the true story of a Chinese Pirate Queen, entirely created using AI technology. Chen Zhuo explained, “It’s actually the first full AI-generated movie in the world, with a runtime of 90 minutes.” She highlighted the project’s revolutionary nature, emphasizing that it was produced in a decentralized manner with the collaboration of 130 creators from 13 countries. This diverse teamwork, overcoming geographical and cultural differences, signifies a new era of accessible and collaborative filmmaking.

When asked about the process of creating scenes in “Zheng Yi Sao” and balancing creative vision, Chen Zhuo detailed their meticulous workflow. She shared how her team faced challenges early on when AI technology was less advanced, and explained that the key was to focus on essential elements for success.

Chen Zhuo stated, “First, you need compelling content… and second, high-quality visual effects.” This approach led to the formation of specialized teams: a creative team with traditional filmmaking skills and a production team with advanced AI expertise.

Chen Zhuo also discussed the decentralized creative metaverse at the heart of Fizz Dragon’s AI initiatives. This innovative approach democratizes filmmaking, enabling voices from diverse backgrounds to share stories without traditional gatekeepers. She emphasizes that “artists are the greatest teachers in this world,” and decentralization helps prevent content homogenization.

When asked about screening “Zheng Yi Sao” in Europe, Chen Zhuo expressed a strong interest in expanding their ecosystem by collaborating with diverse creators. She underlined the importance of cultures and ideas coming together to drive innovation in film projects.

Reflecting on audience reactions at the River Film Festival, Chen Zhuo noted the growing enthusiasm for AI as a creative tool. She believes AI-driven movies will become more common in the coming years, providing filmmakers with a convenient way to experiment with ideas and connect with audiences.

Looking ahead, she envisions cinemas transforming into immersive and interactive spaces, blending traditional film with gaming and interactive world-building experiences.

The post “Zheng Yi Sao”, Interview with Director Chen Zhuo appeared first on Fred Film Radio.

Sharunas Bartas, the visionary director behind “Laguna“, engaged in a compelling conversation with Fred Film Radio during the 82nd Venice Film Festival. Presented as a Giornate degli Autori Evento Speciale, “Laguna” is a poignant exploration of memory, grief, and the enduring power of personal stories. Bartas’s willingness to intertwine his own experiences with the narrative creates a film that resonates with raw emotion and genuine authenticity.

For Sharunas Bartas, honesty is the foundation of filmmaking. He believes that a filmmaker must be entirely open, without self-protection, to truly connect with the audience. This approach is deeply embedded in “Laguna“, where Bartas boldly exposes his vulnerabilities, allowing his personal experiences to shape the story. He avoids relying on past successes, instead treating each project as a new beginning. This mindset brings fresh perspectives and authentic emotion to his work, steering clear of imitation and striving for genuine expression. As Bartas states, “You must be open, absolutely open, without any protection.”

One of “Laguna’s“ most compelling aspects is its deep connection to nature, particularly the Mexican Pacific Coast. This location holds personal significance, as it was where Inna Maria, Bartas’s late wife and a talented actress, first visited during a student film project. Bartas vividly recalls their shared journey to a small lagoon during travels—an experience that initially inspired a film about the local people. Tragically, Inna Maria was killed in a car accident, forever altering the film’s direction and transforming it into a deeply personal meditation on grief and remembrance.

Bartas does not view “Laguna“ as a cure; he emphasizes that some wounds can never fully mend. Instead, he considers the film a necessary act of sharing Inna Maria’s story and highlighting the profound impact of her loss—especially on his daughter. In his words, “You never can heal it.” For Bartas, filmmaking is a way to respond to overwhelming emotions that demand release. It’s about expressing the “fire” within, regardless of the subject. This raw, unfiltered emotion permeates every frame of “Laguna“, creating a powerful and unforgettable cinematic experience. The film is a testament not to closure, but to enduring love and remembrance.

Initially drawn to writing, Bartas discovered that images, sound, and music offer a more profound means of expressing his inner world. He makes films when an overwhelming need to communicate arises, driven by genuine emotion yearning to be shared. This intrinsic motivation gives “Laguna“ its resonant and lasting impact. The images evoke memories and emotions, creating a sensory experience that transcends traditional narrative boundaries. This approach makes “Laguna“ a unique and profoundly moving work of art.

The setting of the Mexican Pacific Coast is more than a backdrop—it’s a character in its own right. The sprawling landscape mirrors the vastness of grief, while the beauty of the lagoon symbolizes life’s enduring beauty and memory. Bartas masterfully uses the environment to heighten the story’s emotional weight, crafting a visual and emotional tapestry that resonates deeply with viewers.

For more in-depth insights into Sharunas Bartas and his notable contributions to cinema, consider exploring resources like Fred Film Radio and other major film festival platforms. These sources often feature exclusive interviews, behind-the-scenes perspectives, and critical analyses that deepen understanding of Bartas’s artistic vision and the profound influence of his films.

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