FRED Film Radio - English Channel

Matt Dillon, one of the protagonist of the last Riviera International Film Festival, says that film industry in some many ways has changes since he started his job, now also because of Artificial intelligence. "I think the human stories are important. I believe in good stay telling. AI scares us, but the machine doesn't have intention".

In this interview he talks about his career and how art is important. "For me is important follow the heart and to be actively created". Recently he shot a new movie, directed by Claire Denis, "The Fence", in which he played a construction former in west Africa.

Sergei Loznitsa is back in Cannes competition at the 78th edition of the festival with "Two prosecutors".

The film marks the director’s return to fiction, almost ten years after Donbass, presented in Un Certain Regard in Cannes.

The Ucranian director was at the Festival de Cannes last year with "The invasion", a documentary showing the everyday life, along two years, of civilians during the war.

With "Two prosecutors" Loznitsa brings to big screen Georgy Demidov’s novella, about the authors’ experience in a gulag for 14 years.

As it was written in 1969, the book was confiscated by the KGB in the 80’s and then only released in 2009. Loznitsa read it and started working on its adaptation to the big screen in 2020.

The reason why the director decided it was the right time to bring this book to the screen is that the situation in Russia and other countries is getting worse and worse everyday.

As he said to Variety: “Watching this story from the past, we also recognize the present”.

Rufus Sewell, jury president of the last edition of Riviera International Film Festival, talks to FredFilmRadio about his career and how is important to support new generations. "I see so many young independent filmmakers' works in a row for this, just to be reminded how refreshing it is to see films that are being made as a kind of first burst of enthusiasm and heart and belief".

About his career, he says: "I think it's stupid to have no regrets. I mean, however, you don't know what would have happened if you'd made different choices. I do think that the worst parts of my career and my choices have ended up contributing to the best parts. So I'm very happy with where my career is now. So much of what I know about myself and what I bring to my work is made up from those experiences. Like with all of the bad things that happen to you in life, if you take them away, you would be a different person. I'm very excited about the journey that I've had that leads me to hear". 

Now as in the past Sewell chooses the projects "go on instincts. But it's very different when you're offered a wider variety or have access to a wider variety. My criteria is always the same". He's about to do a film called "Billion Dollar Spy". "I shoot in Budapest after this festival. In a few days I start. That's a spy kind of espionage thing about CIA in Moscow, late 1970s".

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 Legend of Ochi" by Isaiah Saxon lands in italian cinemas on May 8, 2025 thanks to IWonder Pictures.

Produced by A24, "The Legend of Ochi" is Saxon’s feature film debut as he’s well known for directing music videos for artists such as Björk, Panda Bear, Dirty Projectors, and Grizzly Bear.

Isaiah Saxon created the fantasy world where the Ochi creatures live in and with an 80’s inspired crafts made only of CGI and real sets in Transilvania, he put his protagonist, Helena Zengel at the center of a big adventure.

Through this special relationship between a teenage girl Yuri (Zengel) and a baby Ochi, Saxon shows us how we “talk” without talking and communication is a way to expand our views and horizons.

Helena Zengel and Isaiah Saxon then proceed to describe how the film became so tactile, real that you could actually smell it.

The women in "The Legend of Ochi" are the ones not accepting the patriarchal world they live in as it is. Director and actor reveal how actual and contemporary the film in the way it shows how people is fighting to change the narrative.

In "De que casa eres", Ana Perez Quiroga brings to light the little-known story of thousands of Basque children exiled to the Soviet Union before WWII, through the personal journey of Angelita Perez.

Blending rare archival footage and emotional testimony, the film explores the lasting impact of war, exile, and the search for identity, highlighting both the wounds left behind and the strength to endure.

Ana recounts her extensive research in Soviet and Spanish archives and reflects on the symbolic presence of Eisenstein’s Battleship Potemkin.

The film is also a tender collaboration with her mother, whose memories anchor the narrative. Together, they explore generational trauma and the enduring power of storytelling.

In "Lo que trajo la tormenta", director Miguel de Zuviría and cinematographer Gaspar Chaves explore the emotional and creative crisis of Manuel, an artist facing a breakup and the collapse of a long-term project.

Seeking distance, Manuel retreats to a coastal village, where unexpected encounters challenge his inertia and awaken new inspiration. In the interview, the filmmakers discuss the layered script, where secondary characters mirror and influence Manuel’s internal journey.

Miguel de Zuviría and Gaspar Chaves also reflect on the deliberate interplay between image and sound, crafting a sensory experience rooted in the rhythm of place and emotion. Filmmaking is a way to explore fragility, transformation, and the invisible ties that connect people.

In "Vitrival", directors Baptiste Bogaert and Noëlle Bastin explore the oddities of small-town life through the eyes of two local policemen, Pierre and Benji, whose uneventful routines are disrupted by bizarre events—from phallic graffiti to mysterious suicides.

In this interview, they reflect on the film’s origins in real village life and their aim to strike a balance between deadpan comedy and human insight.

They discuss how unexpected incidents challenge the quiet rhythm of "Vitrival" and respond to comparisons with Aki Kaurismäki’s humor, which they see as an apt reference for their understated, offbeat tone.

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.

"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.