Global Critics Venice Voice, hosted by internationally renowned film critic Rita Di Santo, is the daily podcast of the Venice International Film Festival 2026, 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:

Fernando Lima | film critic former artistic director of Mar Del Plata – Argentina

The post Global Critics Venice Voice – Highlights and film critics from Venice Film Festival – episode 6/09 appeared first on Fred Film Radio.

Start your day on FRED Film Radio with Venice Production Bridge 2026 morning preview: for the first six days of the market, Carolina Mancini joined by VPB director Pascal Diot, Chiara Marin, Coordinator of the market and Curator of Book Adaptation Rights Market and Alessandra Speciale, Curator of Final Cut in Venice, walks you through the unmissable events and the highlights of the Venice Production Bridge, taking place between the Hotel Excelsior, the Venice Immersive Island (Lazzaretto Vecchio) and the Match Point Arena.

Choose your panels and set your agenda with FRED Film Radio!

Stay up to date every day also listening the latest news from the Film Market at the Venice Lido with the Across the Bridge daily podcast.

The post Venice Production Bridge 2026 – Daily Preview of Film Market, September 7 appeared first on Fred Film Radio.

Austrian director Jessica Hausner, has been selected in the Venice Gap Financing Market with her new project Toxic, co-production between Austria, Germany, France, Sweden.

Toxic is a film that is told in 4 different chapters, and each chapter is showing a different work situation. Jessica Hausner explains the film is about how we work nowadays and how much work is related to being productive and efficient. It is questioning  if it is profitable  to do something that maybe helps the community and how can those values be integrated in a very capitalist world. Bu, she adds, the film gives  no answer to this.

Toxic will be shot next spring, t in Germany, in Austria, and probably in Slovakia.  Howeber, Jessica Hausner explains, “in my films  the place of shooting never reflects in the story, because they are told in what I call  a very  hyperrealistic way. I try to melt down the story to something very universal, so it doesn’t matter if it’s it’s shot in Germany or Austria or France. But for sure it’s  in the Western, in the capitalist world.”

One episode takes place in an advertising company, another one in a garbage removal company. Another  episode is in an old people’s care home, and one episode is in a toy shop. And finally, one is in the  mansion of a very rich person who owns all the other companies

The companies involved are Schubert Film in Austria, co-production Office, and Essential Film in Germany and France. , the Swedish company, is  the company of Ruben Östlund.

The post “Toxic”, interview with director Jessica Hausner appeared first on Fred Film Radio.

Across The Bridge brings you the highlights and the best of Venice Production Bridge 2026 during 83rd Venice Film Festival.

In a daily podcast, Angelo Acerbi and Carolina Mancini explore the key events, discussions and issues shaping Venice Production Bridge 2026, with the help of guests and interviews, offering an insider’s perspective on one of the film industry’s most distinctive and effective film markets.

Discover all the latest industry news and developments presented at the Lido from September 3 to 9, 2026.

The post Across The Bridge – The Best of Venice Production Bridge 2026, September 6 appeared first on Fred Film Radio.

Our Share of Sand stands as a powerful symbol of the environmental crisis and exploitation unfolding in India. Through storytelling that favors emotion over didactic explanation, the filmmakers manage to convey the crisis surrounding sand mining while keeping the film deeply human. It’s worth noting that, during editing, more explicit scenes depicting the mining process itself were cut, precisely to preserve the story’s emotional core. At the center of the narrative lies the relationship between a father and daughter, a bond that allows viewers to connect personally with broader themes of environmental degradation and systemic exploitation, turning sand into a striking and effective metaphor.

On the production side, the film faced no small challenge in its multilingual shoot, with Hindi, Marathi, and local dialects all woven into the set. Director Maya Mehta explained how having local translators on hand, able to mediate between Hindi, Marathi, and English, proved essential to smooth communication between cast and crew. It’s no surprise, then, that the film often leans on energetic crowd scenes, where nonverbal cues and physical energy carry the emotion, bypassing the need for rigid dialogue. This linguistic complexity also demanded extra time built into the shooting schedule, an investment that shows in how fluidly the acting and direction come together on screen.

Another strength of the film is its portrayal of the parents, shown as complex figures caught within a system that predates and looms over them. As children of immigrants, they’re driven by the need to survive and by the desire to give their own children the basics. Patriarchy, capitalism, and exploitation emerge as deeply rooted forces, hard to break free from, and the film succeeds in showing how these characters’ actions are shaped by their circumstances, never reducing them to simple villains or heroes.

This narrative choice – acknowledging systemic entrapment and how difficult change is in the face of economic and social forces larger than any individual – is arguably the film’s strongest card: a story capable of generating genuine empathy for the struggles of marginalized communities, staying true to the themes of exploitation and resilience that Our Share of Sand sets out to tell.

The post “Our share of sand”, interview with director Shalini Adnani and actress Maya Mehta appeared first on Fred Film Radio.

During the Venice International Film Festival 2026 we spoke with Anne Siro and Rafaël Balboni, directors and writers of Un détour par Diane, presented here at the Orizzonti section of the festival. A modern narrative that revolves around the themes of sexual violence, trauma, and vengeance through a Western lens, exploring these intense topics within the framework of an intimate family narrative, full of symbolism and creativity.

During our interview with FRED Film Radio, Anne Siro explained that they chose the Western genre because of its historical association with themes of revenge, justice, and unburying old traumas. She pointed out that Westerns often tell stories about unearthing buried violence, which resonates with the film’s focus on sexual violence that is often hushed or unspoken. Siro emphasizes that overcoming sexual violence is one of the hardest struggles, and framing it as an epic Western here in Un détour par Diane allowed the film to explore this process in a powerful, cinematic way.

Rafaël Balboni, instead, elaborated that the film centers on how trauma can be passed down from mothers to daughters through generations. He described how the family structure depicted—from grandmother to mother to daughter—carries the burden of their history, highlighting how the symbolic imaginary is aiming to represent both hope and the possibility of breaking the cycle.

Un détour par Diane by directors Anne Siro and Rafaël Balboni, immerse viewers in the moral dilemmas of remembrance and forgetting, sharing a nuanced perspective on these difficult issues, presented here in such a compelling cinematic form at the Venice festival.

The post “Un détour par Diane”, interview with directors Ann Sirot and Raphaël Balboni appeared first on Fred Film Radio.

Start your day on FRED Film Radio with Venice Production Bridge 2026 morning preview: for the first six days of the market, Carolina Mancini joined by VPB director Pascal Diot, Chiara Marin, Coordinator of the market and Curator of Book Adaptation Rights Market and Alessandra Speciale, Curator of Final Cut in Venice, walks you through the unmissable events and the highlights of the Venice Production Bridge, taking place between the Hotel Excelsior, the Venice Immersive Island (Lazzaretto Vecchio) and the Match Point Arena.

Choose your panels and set your agenda with FRED Film Radio!

Stay up to date every day also listening the latest news from the Film Market at the Venice Lido with the Across the Bridge daily podcast.

The post Venice Production Bridge 2026 – Daily Preview of Film Market, September 6 appeared first on Fred Film Radio.

Across The Bridge brings you the highlights and the best of Venice Production Bridge 2026 during 83rd Venice Film Festival.

In a daily podcast, Angelo Acerbi and Carolina Mancini explore the key events, discussions and issues shaping Venice Production Bridge 2026, with the help of guests and interviews, offering an insider’s perspective on one of the film industry’s most distinctive and effective film markets.

Discover all the latest industry news and developments presented at the Lido from September 3 to 9, 2026.

The post Across The Bridge – The Best of Venice Production Bridge 2026, September 5 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 Venice International Film Festival 2026, 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:

Max Borg | The Film Verdict – Switzerland

The post Global Critics Venice Voice – Highlights and film critics from Venice Film Festival – episode 5/09 appeared first on Fred Film Radio.

Orlando Bloom and Domhnall Gleeson bring Bucking Fastard, directed by Werner Herzog, to the 83rd Venice Film Festival, where the film is in competition. The two actors speak about what it means to work with Herzog, the singular nature of the script, why they choose the projects they do, the freedom of working outside the studio system, and what it was like acting opposite Kate Mara and Rooney Mara’s synchronized performances as two sisters who speak, move and dream in unison.

Asked what it is like to work with Herzog, Bloom doesn’t hesitate: “It’s a gift, really. To be here at the Venice Film Festival with an amazing cast of actors and to have worked with Herzog is a gift.” He calls him “unlike any other director I’ve ever worked with,” someone whose “passion and obsession with moviemaking and art is just palpable on the set.” Gleeson agrees: “There’s nobody who can make films like Herzog. You can try, but you will fail. Only he can do what he does, and to be a part of it is an honor.”

Reading the script for the first time raised its own questions for Bloom: “How are they going to do this? How do we get the budget to make an unbelievable script like this?” For him, the result is unrepeatable: “I think this is a movie that you will never have seen before and you certainly will never see again.” Bloom also points to the film’s dedication to David Lynch at its opening, wondering aloud whether it shares something of his universe. Gleeson sees a kinship without the film being derivative: “there are sinister elements in the film and there’s a lot of empathy, and it doesn’t always explain itself, which I think is really important with real art.” He adds, “very proud to be in a film that’s dedicated to another master.”

Both actors describe the experience of working opposite Kate Mara and Rooney Mara, who play two sisters so close they speak and move in unison, as something hard to put into words. “You’re working with two great actors working as one great actor, somehow,” Gleeson says. “It’s a strange experience, but then what’s unusual is that it becomes normal — you tune in to them and what they’re doing. What’s extraordinary is that it feels real in the room. You can’t explain it, but it feels real.” Bloom recalls a similar sense of wonder on set: “They were unbelievably prepared. They were breathing, performing, speaking, dreaming almost together. That created an awe for everyone around them.”

The post “Bucking Fastard”, interview with actors Orlando Bloom and Domnhall Gleeson appeared first on Fred Film Radio.